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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Miko Fogarty was a rising star in the ballet world. At 18, she left Northern California for the United Kingdom, where she'd landed her dream job with the Birmingham Royal Ballet. By that point, she had earned a massive social media following and won top honors at important international competitions.\u003c/p>\n\u003cp>But within just one year, Miko left the company and no longer appeared on stage. How did she become a star so quickly, and why did she walk away?\u003c/p>\n\u003cp>To hear Miko's whole story, listen to the \u003ca href=\"https://www.kqed.org/news/11696615/ballet-star-moves-past-pain-for-a-new-stage-science\" rel=\"noopener\" target=\"_blank\">30-minute audio documentary\u003c/a> KQED reporter Chloe Veltman produced for \"The California Report Magazine.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Listen to the full, 30-minute audio documentary by clicking the play button above, or by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">subscribing to The California Report Magazine podcast\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>During her teenage years, Miko Fogarty was a rising star in the ballet world — a slender rod of lightning in a tutu and a bun.\u003c/p>\n\u003cp>KQED profiled Miko in 2015, right before the young dancer, then 18, was leaving Northern California for the U.K., where she’d landed her dream job with the \u003ca href=\"https://www.brb.org.uk/\" target=\"_blank\" rel=\"noopener\">Birmingham Royal Ballet\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qdSSzJl-PUM\u003c/p>\n\u003cp>The dancer had by that point earned a massive social media following, thanks to her starring role in the award-winning, 2012 ballet documentary “\u003ca href=\"https://www.imdb.com/title/tt2008513/\" target=\"_blank\" rel=\"noopener\">First Position\u003c/a>.” And she’d won top honors at important international competitions.\u003c/p>\n\u003cp>She was headed for greatness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SmiBXdBNIXE\u003c/p>\n\u003cp>But within just one year of joining the Birmingham Royal Ballet, Miko left the company and no longer appeared on stage.\u003c/p>\n\u003cp>This summer, KQED found Miko, now 21, in an unexpected place: working part-time as a cancer research assistant at UCSF’s Mission Bay Campus.\u003c/p>\n\u003cp>This fall, Miko enrolled in UC Berkeley. She’s majoring in biology and plans to become a doctor.\u003c/p>\n\u003cp>Miko still coaches dance privately in the Bay Area on occasional weekends. But she’s otherwise said goodbye to ballet.\u003c/p>\n\u003cfigure id=\"attachment_11696704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696704\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG-0785-800x600.jpg\" alt=\"Miko Fogarty working in a cancer research lab at the University of California San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty working in a cancer research lab at the University of California San Francisco. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really happy and really content with how everything is going so far,” she said in one of the many interviews she gave KQED over the past few months. “I feel like I’ve found my true calling in the academic world and in science.”\u003c/p>\n\u003cp>It’s been two years since Miko quit performing. Yet she’s been hesitant to open up to her many fans on social media about the change.\u003c/p>\n\u003cp>Gradually, over the summer, she started to share her thoughts about what it’s been like to pursue a passion with single-minded persistence, and then to drop it and change direction completely.\u003c/p>\n\u003cp>“I was always kind of waiting for the moment where I got off stage, or it was after the performance,” Miko said. “I couldn’t wait for that moment after.”\u003c/p>\n\u003cfigure id=\"attachment_11696622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696622\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-800x533.jpg\" alt=\"Miko Fogarty. October 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty. October 3, 2018. \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reasons for Miko’s huge life change are complex and various. \u003c/p>\n\u003cp>Body image issues, depression, self-destructive behaviors and the culture of pain and suppression entrenched in the ballet world are all part of Miko’s narrative.\u003c/p>\n\u003cp>And then there’s the story of what happened one day in 2011 with one of her former coaches — a man by the name of Viktor Kabaniaev. Miko studied with him for five years from the age of 10 to 15. He was a widely respected dance teacher with a reputation for launching careers.\u003c/p>\n\u003cp>Kabaniaev has been in jail in Contra Costa County since January, after a former student — not Miko — accused him of repeatedly raping and molesting her. The former student told authorities the dance coach first attacked her when she was 12. He was denied bail. And the police put the word out asking for other victims to step forward.\u003c/p>\n\u003cp>On Friday, a judge \u003ca href=\"https://www.kqed.org/news/11696873/rape-case-against-revered-bay-area-dance-coach-moves-forward\" rel=\"noopener\" target=\"_blank\">ruled there is sufficient evidence for Kabaniaev to face trial\u003c/a>.\u003c/p>\n\u003cp>When Miko heard the news about her former coach, she said she was shocked but not surprised. She said he assaulted her when she was 13. \u003c/p>\n\u003cfigure id=\"attachment_11696706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696706\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-800x450.png\" alt='Viktor Kabaniaev in a still from the 2012 dance documentary \"First Position.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264.png 1906w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viktor Kabaniaev in a still from the 2012 dance documentary “First Position.” \u003ccite>(Courtesy Bess Kargman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was an isolated incident at his apartment south of San Francisco involving unwanted advances and sexually explicit touching. Miko suppressed the memory for years. It only resurfaced when the headlines about Kabaniaev’s arrest came out. \u003c/p>\n\u003cp>Miko said it had nothing to do with her decision to quit ballet.\u003c/p>\n\u003cp>But the resurfacing of the memory after all this time caused her to share her story with police. She said she did it because she wanted to add strength and credibility to the other victim’s charges against her former coach.\u003c/p>\n\u003cp>“If it’s just one person that reports something about someone, it’s hard for people to believe,” Miko said.\u003c/p>\n\u003cfigure id=\"attachment_11696644\" class=\"wp-caption aligncenter\" style=\"max-width: 4875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11696644\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09.jpg\" alt=\"Miko Fogarty. October 3, 2018.\" width=\"4875\" height=\"3172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09.jpg 4875w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1200x781.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1920x1249.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-960x625.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-520x338.jpg 520w\" sizes=\"(max-width: 4875px) 100vw, 4875px\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty. October 3, 2018. \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ballet world has long been long rife with abuses of power.\u003c/p>\n\u003cp>With the \u003ca href=\"https://www.nycballet.com/\">New York City Ballet\u003c/a> announcing this week \u003ca href=\"https://www.nytimes.com/2018/10/03/arts/dance/new-york-city-ballet-metoo.html\">the implementation of corporate culture-style safeguards\u003c/a> in the wake of multiple sexual misconduct scandals, Miko Fogarty’s story touches on the many nuances and complexities of the #MeToo movement.\u003c/p>\n\u003cp>\u003cem>Listen to the full, 30-minute audio documentary by clicking the play button above, or by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">subscribing to The California Report Magazine podcast\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen to the full, 30-minute audio documentary by clicking the play button above, or by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">subscribing to The California Report Magazine podcast\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>During her teenage years, Miko Fogarty was a rising star in the ballet world — a slender rod of lightning in a tutu and a bun.\u003c/p>\n\u003cp>KQED profiled Miko in 2015, right before the young dancer, then 18, was leaving Northern California for the U.K., where she’d landed her dream job with the \u003ca href=\"https://www.brb.org.uk/\" target=\"_blank\" rel=\"noopener\">Birmingham Royal Ballet\u003c/a>.\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/qdSSzJl-PUM'\n title='//www.youtube.com/embed/qdSSzJl-PUM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The dancer had by that point earned a massive social media following, thanks to her starring role in the award-winning, 2012 ballet documentary “\u003ca href=\"https://www.imdb.com/title/tt2008513/\" target=\"_blank\" rel=\"noopener\">First Position\u003c/a>.” And she’d won top honors at important international competitions.\u003c/p>\n\u003cp>She was headed for greatness.\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/SmiBXdBNIXE'\n title='//www.youtube.com/embed/SmiBXdBNIXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But within just one year of joining the Birmingham Royal Ballet, Miko left the company and no longer appeared on stage.\u003c/p>\n\u003cp>This summer, KQED found Miko, now 21, in an unexpected place: working part-time as a cancer research assistant at UCSF’s Mission Bay Campus.\u003c/p>\n\u003cp>This fall, Miko enrolled in UC Berkeley. She’s majoring in biology and plans to become a doctor.\u003c/p>\n\u003cp>Miko still coaches dance privately in the Bay Area on occasional weekends. But she’s otherwise said goodbye to ballet.\u003c/p>\n\u003cfigure id=\"attachment_11696704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696704\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG-0785-800x600.jpg\" alt=\"Miko Fogarty working in a cancer research lab at the University of California San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/IMG-0785-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty working in a cancer research lab at the University of California San Francisco. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really happy and really content with how everything is going so far,” she said in one of the many interviews she gave KQED over the past few months. “I feel like I’ve found my true calling in the academic world and in science.”\u003c/p>\n\u003cp>It’s been two years since Miko quit performing. Yet she’s been hesitant to open up to her many fans on social media about the change.\u003c/p>\n\u003cp>Gradually, over the summer, she started to share her thoughts about what it’s been like to pursue a passion with single-minded persistence, and then to drop it and change direction completely.\u003c/p>\n\u003cp>“I was always kind of waiting for the moment where I got off stage, or it was after the performance,” Miko said. “I couldn’t wait for that moment after.”\u003c/p>\n\u003cfigure id=\"attachment_11696622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696622\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-800x533.jpg\" alt=\"Miko Fogarty. October 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_07-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty. October 3, 2018. \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reasons for Miko’s huge life change are complex and various. \u003c/p>\n\u003cp>Body image issues, depression, self-destructive behaviors and the culture of pain and suppression entrenched in the ballet world are all part of Miko’s narrative.\u003c/p>\n\u003cp>And then there’s the story of what happened one day in 2011 with one of her former coaches — a man by the name of Viktor Kabaniaev. Miko studied with him for five years from the age of 10 to 15. He was a widely respected dance teacher with a reputation for launching careers.\u003c/p>\n\u003cp>Kabaniaev has been in jail in Contra Costa County since January, after a former student — not Miko — accused him of repeatedly raping and molesting her. The former student told authorities the dance coach first attacked her when she was 12. He was denied bail. And the police put the word out asking for other victims to step forward.\u003c/p>\n\u003cp>On Friday, a judge \u003ca href=\"https://www.kqed.org/news/11696873/rape-case-against-revered-bay-area-dance-coach-moves-forward\" rel=\"noopener\" target=\"_blank\">ruled there is sufficient evidence for Kabaniaev to face trial\u003c/a>.\u003c/p>\n\u003cp>When Miko heard the news about her former coach, she said she was shocked but not surprised. She said he assaulted her when she was 13. \u003c/p>\n\u003cfigure id=\"attachment_11696706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696706\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-800x450.png\" alt='Viktor Kabaniaev in a still from the 2012 dance documentary \"First Position.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Screen-Shot-2018-10-03-at-18.36.35-e1538703351264.png 1906w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viktor Kabaniaev in a still from the 2012 dance documentary “First Position.” \u003ccite>(Courtesy Bess Kargman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was an isolated incident at his apartment south of San Francisco involving unwanted advances and sexually explicit touching. Miko suppressed the memory for years. It only resurfaced when the headlines about Kabaniaev’s arrest came out. \u003c/p>\n\u003cp>Miko said it had nothing to do with her decision to quit ballet.\u003c/p>\n\u003cp>But the resurfacing of the memory after all this time caused her to share her story with police. She said she did it because she wanted to add strength and credibility to the other victim’s charges against her former coach.\u003c/p>\n\u003cp>“If it’s just one person that reports something about someone, it’s hard for people to believe,” Miko said.\u003c/p>\n\u003cfigure id=\"attachment_11696644\" class=\"wp-caption aligncenter\" style=\"max-width: 4875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11696644\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09.jpg\" alt=\"Miko Fogarty. October 3, 2018.\" width=\"4875\" height=\"3172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09.jpg 4875w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1200x781.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1920x1249.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-960x625.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/10032018_AW_Miko_09-520x338.jpg 520w\" sizes=\"(max-width: 4875px) 100vw, 4875px\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty. October 3, 2018. \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ballet world has long been long rife with abuses of power.\u003c/p>\n\u003cp>With the \u003ca href=\"https://www.nycballet.com/\">New York City Ballet\u003c/a> announcing this week \u003ca href=\"https://www.nytimes.com/2018/10/03/arts/dance/new-york-city-ballet-metoo.html\">the implementation of corporate culture-style safeguards\u003c/a> in the wake of multiple sexual misconduct scandals, Miko Fogarty’s story touches on the many nuances and complexities of the #MeToo movement.\u003c/p>\n\u003cp>\u003cem>Listen to the full, 30-minute audio documentary by clicking the play button above, or by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">subscribing to The California Report Magazine podcast\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Love it or hate it, it's Fleet Week in San Francisco again. \u003ca href=\"http://bit.ly/fiorefleetflying\" target=\"_blank\" rel=\"noopener\">Find out what you can see (or avoid) here\u003c/a>.\u003c/p>\n\u003cp>The main action will be along the north side of San Francisco, from Crissy Field to the Bay Bridge.\u003c/p>\n\u003cp>If you want to avoid the Fleet Week crowds, you can find an entirely different crowd in Golden Gate Park at \u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>.\u003c/p>\n\u003cp>As the cartoon below shows, I'm a little torn.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11696861\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/fleetweek_100915_final-800x800.png\" alt=\"Fleet Week by Mark Fiore\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1200x1200.png 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1920x1920.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1180x1180.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-960x960.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-240x240.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-375x375.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-520x520.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-150x150.png 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Love it or hate it, it's Fleet Week in San Francisco again. \u003ca href=\"http://bit.ly/fiorefleetflying\" target=\"_blank\" rel=\"noopener\">Find out what you can see (or avoid) here\u003c/a>.\u003c/p>\n\u003cp>The main action will be along the north side of San Francisco, from Crissy Field to the Bay Bridge.\u003c/p>\n\u003cp>If you want to avoid the Fleet Week crowds, you can find an entirely different crowd in Golden Gate Park at \u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>.\u003c/p>\n\u003cp>As the cartoon below shows, I'm a little torn.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11696861\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/fleetweek_100915_final-800x800.png\" alt=\"Fleet Week by Mark Fiore\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1200x1200.png 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1920x1920.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-1180x1180.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-960x960.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-240x240.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-375x375.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-520x520.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/fleetweek_100915_final-150x150.png 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Japanese city of Osaka is ending its sister-city relationship of 61 years with San Francisco to protest a memorial to “comfort women.”\u003c/p>\n\u003cp>The memorial, called “Column of Strength,” is located in St. Mary’s Square in San Francisco’s Chinatown. Three young girls stand on a pedestal in a circle, holding hands. Their expressions are steadfast. An older woman looks on from the side.\u003c/p>\n\u003cp>The girls in the memorial, which was \u003ca href=\"https://www.kqed.org/arts/13809651/comfort-women-statue-strains-60-year-san-francisco-osaka-alliance\">unveiled just over a year ago,\u003c/a> represent the hundreds of thousands of women and girls from 13 countries who were sex-trafficked by the Japanese Imperial Army during World War II, many of them Korean and Chinese.\u003c/p>\n\u003cp>When the memorial was erected in 2017, Osaka Mayor Hirofumi Yoshimura said the statue was “Japan bashing.” On Tuesday, he sent a 10-page letter to Mayor London Breed withdrawing from the sister-city partnership.\u003c/p>\n\u003cp>“Why is the mayor of Osaka so afraid of this memorial?” asked Lillian Sing, co-chair of \u003ca href=\"https://remembercomfortwomen.org/\">the Comfort Women Justice Coalition\u003c/a> at a press conference on Wednesday.\u003c/p>\n\u003cp>“He’s afraid of truth. Instead of facing history and recognizing what this memorial stands for, he’s like a coward escaping from reality.”\u003c/p>\n\u003cfigure id=\"attachment_11696516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11696516 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/SingAndTang-800x538.jpg\" alt=\"Retired judges Julie Tang (L) and Lillian Sing (R), co-charis of the Comfort Women Justice Coalition, speak during a news conference next to the 'Column of Strength' statue on Oct. 3, 2018.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-1200x808.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Retired judges Julie Tang (L) and Lillian Sing (R), co-chairs of the Comfort Women Justice Coalition, speak during a news conference next to the ‘Column of Strength’ statue on Oct. 3, 2018. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sing, who is Chinese-American, is a former judge who has dedicated her retirement to educating the public about comfort women. She says Yoshimura’s letter is a blessing in disguise because it sheds light on how important it is to tell this disturbing piece of Japanese history.\u003c/p>\n\u003cp>“Osaka’s mayor has helped us by bringing this [story] to an international level,” she said. “I hope this starts a conversation on what the comfort women history is all about, and why Japan needs to apologize.”\u003c/p>\n\u003cp>The majority of comfort women were forced into sexual slavery for Japanese soldiers at government-run “comfort stations.” Some were recruited by false advertisements for work as maids, factory workers and nurses. They were held as prostitutes and subjected to horrific conditions.\u003c/p>\n\u003cfigure id=\"attachment_11696535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696535\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/StatueHands-800x571.jpg\" alt=\"Efforts to educate the public about the sexual enslavement of comfort women are particularly resonant in the #MeToo era.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-1200x856.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-960x685.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Efforts to educate the public about the sexual enslavement of comfort women are particularly resonant in the #MeToo era. \u003ccite>(Anna Kusmer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Osaka’s former mayor, Toru Hashimoto, \u003ca href=\"https://blogs.wsj.com/japanrealtime/2013/05/14/osaka-mayor-stirs-anger-by-calling-comfort-women-necessary-evil/\">sparked international outrage\u003c/a> when he said comfort women were part of a “necessary system to maintain military discipline.”\u003c/p>\n\u003cp>After his statements, the San Francisco Board of Supervisors adopted a \u003ca href=\"https://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\">resolution\u003c/a> condemning Hashimoto.\u003c/p>\n\u003cp>“Unfortunately, Yoshimura has followed in the footsteps of his predecessor,” said Julie Tang, the other co-chair of the Comfort Women Justice Coalition.\u003c/p>\n\u003cp>Tang said their coalition contains diverse Americans of Asian descent, including Korean, Chinese and Filipino — as well as many Japanese-Americans who want the Japanese government to admit its wrongdoing and history of colonial aggression.\u003c/p>\n\u003cfigure id=\"attachment_11696529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696529\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-800x1040.jpg\" alt=\"The older woman facing the three younger girls in the memorial is an homage to Kim Hak-sun, the first woman to speak out about her experiences as a sexual slave for the Japanese Army.\" width=\"800\" height=\"1040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-923x1200.jpg 923w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-1180x1533.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-960x1248.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-240x312.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-520x676.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The older woman facing the three younger girls in the memorial is an homage to Kim Hak-sun, the first woman to speak out about her experiences as a sexual slave for the Japanese Army. \u003ccite>(Anna Kusmer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Japanese government’s apparent lack of remorse for the treatment of comfort women draws attention to the many ways in which powerful institutions respond to allegations of sexual violence — an issue that has taken American culture by storm in the #MeToo era.\u003c/p>\n\u003cp>The old woman looking up at the three younger girls in the Chinatown memorial represents \u003ca href=\"https://www.newyorker.com/culture/culture-desk/an-important-statue-for-comfort-women-in-san-francisco\">Kim Hak-sun\u003c/a>, a Korean woman who was the first to publicly speak out in 1991 about what happened to her while she was held captive as a sexual slave by the Imperial Japanese Army.\u003c/p>\n\u003cp>“Her testimony and the testimony of hundreds of comfort women actually changed history,” said Judith Mirkinson, president of the Comfort Women Justice Coalition.\u003c/p>\n\u003cp>“That’s what’s happening today, too. Sexual violence, sexual harassment and rape doesn’t go away. It lives forever. And that’s why there has to be justice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Japanese city of Osaka is ending its sister-city relationship of 61 years with San Francisco to protest a memorial to “comfort women.”\u003c/p>\n\u003cp>The memorial, called “Column of Strength,” is located in St. Mary’s Square in San Francisco’s Chinatown. Three young girls stand on a pedestal in a circle, holding hands. Their expressions are steadfast. An older woman looks on from the side.\u003c/p>\n\u003cp>The girls in the memorial, which was \u003ca href=\"https://www.kqed.org/arts/13809651/comfort-women-statue-strains-60-year-san-francisco-osaka-alliance\">unveiled just over a year ago,\u003c/a> represent the hundreds of thousands of women and girls from 13 countries who were sex-trafficked by the Japanese Imperial Army during World War II, many of them Korean and Chinese.\u003c/p>\n\u003cp>When the memorial was erected in 2017, Osaka Mayor Hirofumi Yoshimura said the statue was “Japan bashing.” On Tuesday, he sent a 10-page letter to Mayor London Breed withdrawing from the sister-city partnership.\u003c/p>\n\u003cp>“Why is the mayor of Osaka so afraid of this memorial?” asked Lillian Sing, co-chair of \u003ca href=\"https://remembercomfortwomen.org/\">the Comfort Women Justice Coalition\u003c/a> at a press conference on Wednesday.\u003c/p>\n\u003cp>“He’s afraid of truth. Instead of facing history and recognizing what this memorial stands for, he’s like a coward escaping from reality.”\u003c/p>\n\u003cfigure id=\"attachment_11696516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11696516 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/SingAndTang-800x538.jpg\" alt=\"Retired judges Julie Tang (L) and Lillian Sing (R), co-charis of the Comfort Women Justice Coalition, speak during a news conference next to the 'Column of Strength' statue on Oct. 3, 2018.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-1200x808.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/SingAndTang-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Retired judges Julie Tang (L) and Lillian Sing (R), co-chairs of the Comfort Women Justice Coalition, speak during a news conference next to the ‘Column of Strength’ statue on Oct. 3, 2018. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sing, who is Chinese-American, is a former judge who has dedicated her retirement to educating the public about comfort women. She says Yoshimura’s letter is a blessing in disguise because it sheds light on how important it is to tell this disturbing piece of Japanese history.\u003c/p>\n\u003cp>“Osaka’s mayor has helped us by bringing this [story] to an international level,” she said. “I hope this starts a conversation on what the comfort women history is all about, and why Japan needs to apologize.”\u003c/p>\n\u003cp>The majority of comfort women were forced into sexual slavery for Japanese soldiers at government-run “comfort stations.” Some were recruited by false advertisements for work as maids, factory workers and nurses. They were held as prostitutes and subjected to horrific conditions.\u003c/p>\n\u003cfigure id=\"attachment_11696535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696535\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/StatueHands-800x571.jpg\" alt=\"Efforts to educate the public about the sexual enslavement of comfort women are particularly resonant in the #MeToo era.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-1200x856.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-960x685.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/StatueHands-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Efforts to educate the public about the sexual enslavement of comfort women are particularly resonant in the #MeToo era. \u003ccite>(Anna Kusmer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Osaka’s former mayor, Toru Hashimoto, \u003ca href=\"https://blogs.wsj.com/japanrealtime/2013/05/14/osaka-mayor-stirs-anger-by-calling-comfort-women-necessary-evil/\">sparked international outrage\u003c/a> when he said comfort women were part of a “necessary system to maintain military discipline.”\u003c/p>\n\u003cp>After his statements, the San Francisco Board of Supervisors adopted a \u003ca href=\"https://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\">resolution\u003c/a> condemning Hashimoto.\u003c/p>\n\u003cp>“Unfortunately, Yoshimura has followed in the footsteps of his predecessor,” said Julie Tang, the other co-chair of the Comfort Women Justice Coalition.\u003c/p>\n\u003cp>Tang said their coalition contains diverse Americans of Asian descent, including Korean, Chinese and Filipino — as well as many Japanese-Americans who want the Japanese government to admit its wrongdoing and history of colonial aggression.\u003c/p>\n\u003cfigure id=\"attachment_11696529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696529\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-800x1040.jpg\" alt=\"The older woman facing the three younger girls in the memorial is an homage to Kim Hak-sun, the first woman to speak out about her experiences as a sexual slave for the Japanese Army.\" width=\"800\" height=\"1040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-923x1200.jpg 923w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-1180x1533.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-960x1248.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-240x312.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/OlderWomanStatue-520x676.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The older woman facing the three younger girls in the memorial is an homage to Kim Hak-sun, the first woman to speak out about her experiences as a sexual slave for the Japanese Army. \u003ccite>(Anna Kusmer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Japanese government’s apparent lack of remorse for the treatment of comfort women draws attention to the many ways in which powerful institutions respond to allegations of sexual violence — an issue that has taken American culture by storm in the #MeToo era.\u003c/p>\n\u003cp>The old woman looking up at the three younger girls in the Chinatown memorial represents \u003ca href=\"https://www.newyorker.com/culture/culture-desk/an-important-statue-for-comfort-women-in-san-francisco\">Kim Hak-sun\u003c/a>, a Korean woman who was the first to publicly speak out in 1991 about what happened to her while she was held captive as a sexual slave by the Imperial Japanese Army.\u003c/p>\n\u003cp>“Her testimony and the testimony of hundreds of comfort women actually changed history,” said Judith Mirkinson, president of the Comfort Women Justice Coalition.\u003c/p>\n\u003cp>“That’s what’s happening today, too. Sexual violence, sexual harassment and rape doesn’t go away. It lives forever. And that’s why there has to be justice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "i-want-to-stop-hating-the-yankees-but-i-just-cant",
"title": "I Want to Stop Hating the Yankees ... But I Just Can't",
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"content": "\u003cp>[dropcap]W[/dropcap]hen the Oakland A’s take the field against the New York Yankees on Wednesday, no one will be rooting harder for the boys in green and gold than I. No super-fan with child named after Billy Beane; no old-timer with a Rickey Henderson rookie card displayed over the mantel.\u003c/p>\n\u003cp>Hey, am I an A’s fan, or am I an A’s fan?\u003c/p>\n\u003cp>No, I am not an A’s fan.\u003c/p>\n\u003cp>Then why am I going to be living and dying with every pitch Wednesday?\u003c/p>\n\u003cp>Lemme tell ya a story …\u003c/p>\n\u003chr>\n\u003cp>New York City.\u003c/p>\n\u003cp>October.\u003c/p>\n\u003cp>October, \u003ci>2001\u003c/i>.\u003c/p>\n\u003cp>Couldn’t have been more than 20 people on the flight over from San Francisco, and despite the poor turnout, you’ve never seen so many \u003cem>weather eyes\u003c/em> cast up and down the aisle. My parents live in downtown Manhattan, just a medium walk away from the \u003cem>thing\u003c/em> itself. Invisible plumes of \u003cem>whatever\u003c/em> — you try not to think about it — snake their way through city streets, waft along the avenues, keep you company on cab rides. Inevitably, they find their way to your nostrils, and you get a nice big whiff of hell.\u003c/p>\n\u003cp>Each time I wade out into that acrid soup, I look up and south. You know, maybe catch a glimpse of some smoking ruins or something. But there \u003cem>aren’t\u003c/em> any smoking ruins, because somebody has Photoshopped the skyline.\u003c/p>\n\u003cp>So the city got its two front teeth knocked out, and a lot of people are dead. My dad says we gotta visit my grandfather, up on 86th and First. So we cab it, along with my uncle. Don’t mention \u003cem>what happened\u003c/em>, my dad says. Sure, I think. I mean, the old man, what is he, 91, 92? Lived through two world wars, the Great Depression, and the genuine possibility of nuclear annihilation. Enough already, yes?\u003c/p>\n\u003caside class=\"pullquote alignright\">My family, of course, hates the Yankees. Not just hates. \u003cstrong>Hates, despises, loathes.\u003c/strong>\u003c/aside>\n\u003cp>How I’m gonna get through this visit, I don’t know. But thank god for baseball.\u003c/p>\n\u003cp>In matters of war and peace, there’s not much intergenerational accord in our clan. But at least we agree on one thing. This here’s a \u003cem>National League\u003c/em> family. That unbroken line of devotion, from my grandfather’s New York Giants to his sons’ Giants \u003cem>and\u003c/em> Dodgers (\u003ca href=\"https://www.youtube.com/watch?v=3T0drh8i4Tw\" target=\"_blank\" rel=\"noopener\">1951\u003c/a> was brutal according to family lore) to the entire family’s last, best hope in the form of the New York Mets (please, don’t get me started).\u003c/p>\n\u003cp>This legacy, passed down from father to son, then repeat, has always provided the nearest thing to a bond among the remaining living branches on our family tree.\u003c/p>\n\u003cp>And soon, we will have the World Series. This year, in 2001, the Senior Circuit will offer up the Arizona Diamondbacks as annual sacrifice to that hungry behemoth of the opposing league.\u003c/p>\n\u003cp>My family, of course, hates the Yankees. Not just hates. \u003cem>Hates, despises, loathes\u003c/em>.\u003c/p>\n\u003cp>Why? As a kid, I once put the question to my father, who looked at me like I’d asked why we don’t have candy for breakfast. Pressed, he finally spit out, with maximum venom: “They never gave anyone else a chance to win!”\u003c/p>\n\u003cfigure id=\"attachment_11696083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696083\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-800x587.jpg\" alt=\"An Oakland A's cap sits next to a Yankee Hater's cap (yes, they exist) on the author's kitchen table.\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-1200x881.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-960x705.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland A’s cap sits next to a Yankee Hater’s cap (yes, they exist) on the author’s kitchen table. \u003ccite>(Jon Brooks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as a child, this struck me as hypocritical, considering the zero-sum attitude my dad applied to all other areas in life. But the Yankees’ renaissance during my 1970s childhood only seemed to prove him correct.\u003c/p>\n\u003cp>Back then, Yankee owner George Steinbrenner was stockpiling superstars, while my Mets felt it fiscally prudent to divest themselves of anyone who might help them, you know, \u003cem>win\u003c/em>. Because my 12-year-old’s interpretation of how the world worked included loserdom by association with your favorite team, my resentment of the Yankees grew. (One of my least cherished memories is attending as a fifth columnist the 1976 Yankees-Royals playoff game at which Chris Chambliss hit a \u003ca href=\"https://www.youtube.com/watch?v=AS6HGwoRrkY\" target=\"_blank\" rel=\"noopener\">walk-off home run\u003c/a> to send New York to the World Series. While my 55,000 ecstatic city brethren whooped it up, I sat stonefaced, dissociating among the handslaps and hugs.)\u003c/p>\n\u003cp>And now — this is 2001 — we were in the midst of another Yankee run. The team had won three straight championships, the last over the Mets. The fear among the greater community of Yankee haters was that this juggernaut would never \u003cem>lose\u003c/em> again. Not only did they have the best team, the best manager and the most money, they also had, so it is said, something called “\u003ca href=\"https://www.google.com/search?q=%22yankee+mystique\" target=\"_blank\" rel=\"noopener\">Yankee mystique\u003c/a>.”\u003c/p>\n\u003cp>What that is, I can’t quite articulate, but with all due respect to rationality, it must be feared. Why? Because 27 World Series wins say so.\u003c/p>\n\u003cp>Sometimes, like an avenging angel, Yankee mystique swoops down upon opposing players (\u003ca href=\"https://www.nytimes.com/2005/07/15/sports/baseball/mickey-owen-dies-at-89-allowed-fateful-passed-ball.html\" target=\"_blank\" rel=\"noopener\">Mickey Owen\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=w-35ghwAw90&ab_channel=MLB\" target=\"_blank\" rel=\"noopener\">Pedro Martinez\u003c/a>) and sometimes, as Guardian of the Realm, it bestows swift shots of grace upon the Yankees themselves.\u003c/p>\n\u003cp>That fall, A’s fans saw the phenomenon firsthand in the avatar of \u003ca href=\"https://www.youtube.com/watch?v=ApoJk9X7Vto&ab_channel=MLB\" target=\"_blank\" rel=\"noopener\">Derek Jeter\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ApoJk9X7Vto&ab_channel=MLB\u003c/p>\n\u003cp>For me, Yankee mystique manifests as a creeping foreboding, that no matter what the situation on the scoreboard or the standings, the Yankees will eventually humiliate whoever’s in their way — and their little fans, too.\u003c/p>\n\u003cp>Should their power lie dormant an inning, a season, a decade, those in the know understand, their power can be contained but never destroyed.\u003c/p>\n\u003cp>That terrible October, 17 years ago, my grandfather had lived through the entirety of the Yankees’ 80-year hegemony. He knew the scope of the problem as well as anyone, and I wanted to hear him voice it.\u003c/p>\n\u003cp>“The World Series is coming up, ” I say to him. “Diamondbacks-Yankees …”\u003c/p>\n\u003cp>He hasn’t uttered 10 words all visit — he is not going to live much longer, and in fact, this is the last time I will see him.\u003c/p>\n\u003cp>He nods.\u003c/p>\n\u003cp>“I’m rooting for the Yankees,” he says.\u003c/p>\n\u003cp>I blink. My uncle gasps. My father, head hater of us all, wrinkles his face as if trying to screw it off.\u003c/p>\n\u003cp>“The New York team,” my grandfather calmly explains. “I’m rooting for the New York team…”\u003c/p>\n\u003cp>And \u003cem>that’s\u003c/em> when it hit me.\u003c/p>\n\u003cp>Sept. 11.\u003c/p>\n\u003cp>It changed \u003cem>everything\u003c/em>.\u003c/p>\n\u003cp>My grandfather’s confession had scandalized his offspring. After the visit, on the elevator down, my uncle puts it into perspective in the most tasteless way possible:\u003c/p>\n\u003cp>“I wouldn’t root for the Yankees if they were playing the Berlin Nazis.”\u003c/p>\n\u003cp>So there you have it. Hey, listen, I’m not glowing with pride here. The Yankees lost that World Series, and, as always, I rooted against them — hard. Even in that time of great crisis, with my disfigured, traumatized hometown in dire need of a victory, I could not rise above my own petty feud with the team.\u003c/p>\n\u003cp>Here in 2018, I understand my grandfather had it right. I mean, this sort of unrestrained \u003ci>tribalism\u003c/i> — haven’t we used it, perhaps, as trial run for the more consequential divisions in our current politics?\u003c/p>\n\u003cp>But maybe you have to be as old as my grandfather to finally understand that. Or maybe the Greatest Generation couldn’t help but do what times demand. Or maybe he was just a better man than I.\u003c/p>\n\u003cp>Because basically, I remain an unreconstructed Yankee hater. Call it habit, call it stubbornness. Though it’s no way to live, I continue to view any Yankee resurgence like a harbinger of the coming collapse of Western civilization, even while \u003cem>genuine\u003c/em> harbingers render the notion ridiculous.\u003c/p>\n\u003cp>So what can I do, but lean into it? While it’s been nine years since the team has prevailed, one must stay vigilant, mustn’t one? While this year’s mighty Red Sox have made a perfectly terrific Yankee season look like second prize in a beauty contest, the Yankees have closed out the season by taking 3 of 4 from their archrivals.\u003c/p>\n\u003cp>Once again, I feel that the barbarians are at the gate, and the enemy of my enemy is my friend.\u003c/p>\n\u003cp>I want to stop hating the Yankees, but I just can’t.\u003c/p>\n\u003cp>C’mon, A’s! We need to nip this thing in the bud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "When the Oakland A’s take the field against the New York Yankees on Wednesday, no one will be rooting harder for the boys in green and gold than this anti-Yankees fan.",
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"title": "I Want to Stop Hating the Yankees ... But I Just Can't | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen the Oakland A’s take the field against the New York Yankees on Wednesday, no one will be rooting harder for the boys in green and gold than I. No super-fan with child named after Billy Beane; no old-timer with a Rickey Henderson rookie card displayed over the mantel.\u003c/p>\n\u003cp>Hey, am I an A’s fan, or am I an A’s fan?\u003c/p>\n\u003cp>No, I am not an A’s fan.\u003c/p>\n\u003cp>Then why am I going to be living and dying with every pitch Wednesday?\u003c/p>\n\u003cp>Lemme tell ya a story …\u003c/p>\n\u003chr>\n\u003cp>New York City.\u003c/p>\n\u003cp>October.\u003c/p>\n\u003cp>October, \u003ci>2001\u003c/i>.\u003c/p>\n\u003cp>Couldn’t have been more than 20 people on the flight over from San Francisco, and despite the poor turnout, you’ve never seen so many \u003cem>weather eyes\u003c/em> cast up and down the aisle. My parents live in downtown Manhattan, just a medium walk away from the \u003cem>thing\u003c/em> itself. Invisible plumes of \u003cem>whatever\u003c/em> — you try not to think about it — snake their way through city streets, waft along the avenues, keep you company on cab rides. Inevitably, they find their way to your nostrils, and you get a nice big whiff of hell.\u003c/p>\n\u003cp>Each time I wade out into that acrid soup, I look up and south. You know, maybe catch a glimpse of some smoking ruins or something. But there \u003cem>aren’t\u003c/em> any smoking ruins, because somebody has Photoshopped the skyline.\u003c/p>\n\u003cp>So the city got its two front teeth knocked out, and a lot of people are dead. My dad says we gotta visit my grandfather, up on 86th and First. So we cab it, along with my uncle. Don’t mention \u003cem>what happened\u003c/em>, my dad says. Sure, I think. I mean, the old man, what is he, 91, 92? Lived through two world wars, the Great Depression, and the genuine possibility of nuclear annihilation. Enough already, yes?\u003c/p>\n\u003caside class=\"pullquote alignright\">My family, of course, hates the Yankees. Not just hates. \u003cstrong>Hates, despises, loathes.\u003c/strong>\u003c/aside>\n\u003cp>How I’m gonna get through this visit, I don’t know. But thank god for baseball.\u003c/p>\n\u003cp>In matters of war and peace, there’s not much intergenerational accord in our clan. But at least we agree on one thing. This here’s a \u003cem>National League\u003c/em> family. That unbroken line of devotion, from my grandfather’s New York Giants to his sons’ Giants \u003cem>and\u003c/em> Dodgers (\u003ca href=\"https://www.youtube.com/watch?v=3T0drh8i4Tw\" target=\"_blank\" rel=\"noopener\">1951\u003c/a> was brutal according to family lore) to the entire family’s last, best hope in the form of the New York Mets (please, don’t get me started).\u003c/p>\n\u003cp>This legacy, passed down from father to son, then repeat, has always provided the nearest thing to a bond among the remaining living branches on our family tree.\u003c/p>\n\u003cp>And soon, we will have the World Series. This year, in 2001, the Senior Circuit will offer up the Arizona Diamondbacks as annual sacrifice to that hungry behemoth of the opposing league.\u003c/p>\n\u003cp>My family, of course, hates the Yankees. Not just hates. \u003cem>Hates, despises, loathes\u003c/em>.\u003c/p>\n\u003cp>Why? As a kid, I once put the question to my father, who looked at me like I’d asked why we don’t have candy for breakfast. Pressed, he finally spit out, with maximum venom: “They never gave anyone else a chance to win!”\u003c/p>\n\u003cfigure id=\"attachment_11696083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696083\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-800x587.jpg\" alt=\"An Oakland A's cap sits next to a Yankee Hater's cap (yes, they exist) on the author's kitchen table.\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-1200x881.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-960x705.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AsVAntiYanksCaps-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland A’s cap sits next to a Yankee Hater’s cap (yes, they exist) on the author’s kitchen table. \u003ccite>(Jon Brooks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as a child, this struck me as hypocritical, considering the zero-sum attitude my dad applied to all other areas in life. But the Yankees’ renaissance during my 1970s childhood only seemed to prove him correct.\u003c/p>\n\u003cp>Back then, Yankee owner George Steinbrenner was stockpiling superstars, while my Mets felt it fiscally prudent to divest themselves of anyone who might help them, you know, \u003cem>win\u003c/em>. Because my 12-year-old’s interpretation of how the world worked included loserdom by association with your favorite team, my resentment of the Yankees grew. (One of my least cherished memories is attending as a fifth columnist the 1976 Yankees-Royals playoff game at which Chris Chambliss hit a \u003ca href=\"https://www.youtube.com/watch?v=AS6HGwoRrkY\" target=\"_blank\" rel=\"noopener\">walk-off home run\u003c/a> to send New York to the World Series. While my 55,000 ecstatic city brethren whooped it up, I sat stonefaced, dissociating among the handslaps and hugs.)\u003c/p>\n\u003cp>And now — this is 2001 — we were in the midst of another Yankee run. The team had won three straight championships, the last over the Mets. The fear among the greater community of Yankee haters was that this juggernaut would never \u003cem>lose\u003c/em> again. Not only did they have the best team, the best manager and the most money, they also had, so it is said, something called “\u003ca href=\"https://www.google.com/search?q=%22yankee+mystique\" target=\"_blank\" rel=\"noopener\">Yankee mystique\u003c/a>.”\u003c/p>\n\u003cp>What that is, I can’t quite articulate, but with all due respect to rationality, it must be feared. Why? Because 27 World Series wins say so.\u003c/p>\n\u003cp>Sometimes, like an avenging angel, Yankee mystique swoops down upon opposing players (\u003ca href=\"https://www.nytimes.com/2005/07/15/sports/baseball/mickey-owen-dies-at-89-allowed-fateful-passed-ball.html\" target=\"_blank\" rel=\"noopener\">Mickey Owen\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=w-35ghwAw90&ab_channel=MLB\" target=\"_blank\" rel=\"noopener\">Pedro Martinez\u003c/a>) and sometimes, as Guardian of the Realm, it bestows swift shots of grace upon the Yankees themselves.\u003c/p>\n\u003cp>That fall, A’s fans saw the phenomenon firsthand in the avatar of \u003ca href=\"https://www.youtube.com/watch?v=ApoJk9X7Vto&ab_channel=MLB\" target=\"_blank\" rel=\"noopener\">Derek Jeter\u003c/a>:\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/ApoJk9X7Vto'\n title='//www.youtube.com/embed/ApoJk9X7Vto'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For me, Yankee mystique manifests as a creeping foreboding, that no matter what the situation on the scoreboard or the standings, the Yankees will eventually humiliate whoever’s in their way — and their little fans, too.\u003c/p>\n\u003cp>Should their power lie dormant an inning, a season, a decade, those in the know understand, their power can be contained but never destroyed.\u003c/p>\n\u003cp>That terrible October, 17 years ago, my grandfather had lived through the entirety of the Yankees’ 80-year hegemony. He knew the scope of the problem as well as anyone, and I wanted to hear him voice it.\u003c/p>\n\u003cp>“The World Series is coming up, ” I say to him. “Diamondbacks-Yankees …”\u003c/p>\n\u003cp>He hasn’t uttered 10 words all visit — he is not going to live much longer, and in fact, this is the last time I will see him.\u003c/p>\n\u003cp>He nods.\u003c/p>\n\u003cp>“I’m rooting for the Yankees,” he says.\u003c/p>\n\u003cp>I blink. My uncle gasps. My father, head hater of us all, wrinkles his face as if trying to screw it off.\u003c/p>\n\u003cp>“The New York team,” my grandfather calmly explains. “I’m rooting for the New York team…”\u003c/p>\n\u003cp>And \u003cem>that’s\u003c/em> when it hit me.\u003c/p>\n\u003cp>Sept. 11.\u003c/p>\n\u003cp>It changed \u003cem>everything\u003c/em>.\u003c/p>\n\u003cp>My grandfather’s confession had scandalized his offspring. After the visit, on the elevator down, my uncle puts it into perspective in the most tasteless way possible:\u003c/p>\n\u003cp>“I wouldn’t root for the Yankees if they were playing the Berlin Nazis.”\u003c/p>\n\u003cp>So there you have it. Hey, listen, I’m not glowing with pride here. The Yankees lost that World Series, and, as always, I rooted against them — hard. Even in that time of great crisis, with my disfigured, traumatized hometown in dire need of a victory, I could not rise above my own petty feud with the team.\u003c/p>\n\u003cp>Here in 2018, I understand my grandfather had it right. I mean, this sort of unrestrained \u003ci>tribalism\u003c/i> — haven’t we used it, perhaps, as trial run for the more consequential divisions in our current politics?\u003c/p>\n\u003cp>But maybe you have to be as old as my grandfather to finally understand that. Or maybe the Greatest Generation couldn’t help but do what times demand. Or maybe he was just a better man than I.\u003c/p>\n\u003cp>Because basically, I remain an unreconstructed Yankee hater. Call it habit, call it stubbornness. Though it’s no way to live, I continue to view any Yankee resurgence like a harbinger of the coming collapse of Western civilization, even while \u003cem>genuine\u003c/em> harbingers render the notion ridiculous.\u003c/p>\n\u003cp>So what can I do, but lean into it? While it’s been nine years since the team has prevailed, one must stay vigilant, mustn’t one? While this year’s mighty Red Sox have made a perfectly terrific Yankee season look like second prize in a beauty contest, the Yankees have closed out the season by taking 3 of 4 from their archrivals.\u003c/p>\n\u003cp>Once again, I feel that the barbarians are at the gate, and the enemy of my enemy is my friend.\u003c/p>\n\u003cp>I want to stop hating the Yankees, but I just can’t.\u003c/p>\n\u003cp>C’mon, A’s! We need to nip this thing in the bud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco Board of Supervisors \u003ca href=\"http://bit.ly/2y8geOF\" target=\"_blank\" rel=\"noopener\">voted unanimously on Tuesday\u003c/a> to mandate that at least 30 percent of historical figures depicted in statues and other artworks on city-owned property be women.\u003c/p>\n\u003cp>Currently, the San Francisco Arts Commission collection of 87 “sculptural monuments and memorials” only contains two women: a statue of Sen. Dianne Feinstein inside City Hall, and another of Florence Nightingale outside Laguna Honda Hospital.\u003c/p>\n\u003cp>The first work of public art planned under the new ordinance is a tribute to Maya Angelou, slated to be installed outside San Francisco’s Main Library by the end of 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "S.F. Approves Requirement to Add More Statues of Women in Public Spaces",
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"content": "\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to approve a measure that requires broader representation of women in the city's public spaces.\u003c/p>\n\u003cp>The \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> sets a new policy that at least 30 percent of historical figures depicted in statues and other artworks on city-owned property be women. That also includes public building names and street names.\u003c/p>\n\u003cp>The first work of art planned as part of the ordinance — a representation of renowned author and poet Maya Angelou — will be erected outside San Francisco's Main Library by the end of 2020. Angelou herself broke a color and gender barrier in San Francisco when she became the \u003ca href=\"http://sfist.com/2014/05/28/how_maya_angelou_became_san_francis.php\" target=\"_blank\" rel=\"noopener\">city's first African-American female streetcar conductor\u003c/a> in 1944.\u003c/p>\n\u003cfigure id=\"attachment_11695855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11695855\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/MayaAngelou-800x633.jpg\" alt=\"The late Maya Angelou, pictured in 2010.\" width=\"800\" height=\"633\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-800x633.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-160x127.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-1020x808.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-1200x950.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-1180x934.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-960x760.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-240x190.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-375x297.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Maya Angelou, pictured in 2010. \u003ccite>(Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Dr. Angelou is a national and San Francisco icon,\" said Supervisor Catherine Stefani. \"She was San Francisco's first African-American female streetcar conductor. [She] earned a Presidential Medal of Freedom as an acclaimed poet, author and civil rights activist. Her poems such as 'Phenomenal Woman' and 'Still I Rise' continue to inspire generations of female activists. It is truly fitting that when San Franciscans visit the library, they will be greeted by Dr. Angelou.\"\u003c/p>\n\u003cp>The measure comes as San Francisco and other cities rethink which historical figures should be memorialized on government owned property.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, city officials \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\" target=\"_blank\" rel=\"noopener\">removed the \"Early Days\" monument\u003c/a> at Civic Center Plaza, which depicts a vaquero and a missionary looming over a Native American, a statue deemed racist by activists, cultural organizations and many elected leaders.\u003c/p>\n\u003cp>The sponsors of the ordinance which passed on Tuesday — supervisors Catherine Stefani, Hillary Ronen, Jane Kim and Vallie Brown — note that of the 585 permanently sited works in the Arts Commission's civic art collection, 87 are sculptural monuments and memorials, and only two of those depict nonfictional women: a statue of Sen. Dianne Feinstein inside City Hall, and a \u003ca href=\"https://www.artandarchitecture-sf.com/florence-nightingale.html\" target=\"_blank\" rel=\"noopener\">statue of Florence Nightingale\u003c/a> outside Laguna Honda Hospital, which was completed in 1937 as part of a federal artists program.\u003c/p>\n\u003cp>Stefani said the measure is an important step toward turning the tide against the lack of women represented in so many facets of U.S. society.\u003c/p>\n\u003cp>\"In San Francisco and across our nation, women are under-represented not only in leadership positions but also in public spaces,\" she said. \"The accomplishments of great women deserve to be recognized along with the accomplishments of great men. All children deserve role models they can relate to. And this law is a step forward to accomplishing this goal.\"\u003c/p>\n\u003cp>\"There is that saying, 'if you can't see it, you can't be it,'\" Stefani said. \"If young women don't see women represented broadly across different leadership roles, it becomes more difficult to fully realize they can be anything they want to be.\"\u003c/p>\n\u003cp>Catherine Wagner, a Bay Area artist who has created public art projects around the world and whose latest local piece is scheduled to be unveiled in the South of Market neighborhood next year, said it’s about time San Francisco gave women greater representation. But she’s puzzled as to why the city decided to do it at 30 percent.\u003c/p>\n\u003cp>\"Not that I'm looking a gift horse in the mouth, but I'm wondering why wasn’t it 50?\" she asked.\u003c/p>\n\u003cp>Stefani said the selection of the 30 percent number had to do with critical mass.\u003c/p>\n\u003cp>\"People have asked why not 50 percent? Well at 30 percent representation, we really do start to see a shift,\" Stefani said. \"Research suggests that 30 percent is the proportion when critical mass is actually reached in a group setting. The voices of the minority group become heard in their own right rather than simply representing the minority.\"\u003c/p>\n\u003cp>Noting a \"void\" of public representations of female role models, the ordinance explicitly aims to combat a \"silent message of women's insignificance\":\u003c/p>\n\u003cblockquote>\u003cp>Throughout society, the failure to honor accomplished women through statues, monuments, memorials, and plaques on public display, in San Francisco and elsewhere, leaves a harmful void in our public spaces. Instead of there being on display plentiful historical role models for everyone to see, celebrate, honor, and emulate, there is a different, disturbing message conveyed by this void. It silently communicates a message of women's insignificance in government and politics, commerce, labor, arts, sciences, and the professions, among other human endeavors, and thus reinforces the antiquated stereotype of women not serving in positions of leadership or otherwise making notable historical accomplishments — a stereotype at odds with reality and with the City's commitment to equal opportunity for all.\u003c/p>\u003c/blockquote>\n\u003cp>Tuesday's Board of Supervisors vote comes just two days after \u003ca href=\"https://www.kqed.org/news/11695609/california-to-become-first-state-to-require-companies-include-women-on-corporate-boards\" target=\"_blank\" rel=\"noopener\">Gov. Jerry Brown signed legislation to\u003c/a> force publicly held companies based in California to have at least one woman on their boards of directors by the end of next year.\u003c/p>\n\u003cp>The ordinance will also create a fund that would accept gifts to pay for the design and construction of new works of art, as well as the repair, maintenance and improvement of public art depicting historically significant women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to approve a measure that requires broader representation of women in the city's public spaces.\u003c/p>\n\u003cp>The \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> sets a new policy that at least 30 percent of historical figures depicted in statues and other artworks on city-owned property be women. That also includes public building names and street names.\u003c/p>\n\u003cp>The first work of art planned as part of the ordinance — a representation of renowned author and poet Maya Angelou — will be erected outside San Francisco's Main Library by the end of 2020. Angelou herself broke a color and gender barrier in San Francisco when she became the \u003ca href=\"http://sfist.com/2014/05/28/how_maya_angelou_became_san_francis.php\" target=\"_blank\" rel=\"noopener\">city's first African-American female streetcar conductor\u003c/a> in 1944.\u003c/p>\n\u003cfigure id=\"attachment_11695855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11695855\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/MayaAngelou-800x633.jpg\" alt=\"The late Maya Angelou, pictured in 2010.\" width=\"800\" height=\"633\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-800x633.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-160x127.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-1020x808.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-1200x950.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-1180x934.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-960x760.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-240x190.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-375x297.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/MayaAngelou-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Maya Angelou, pictured in 2010. \u003ccite>(Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Dr. Angelou is a national and San Francisco icon,\" said Supervisor Catherine Stefani. \"She was San Francisco's first African-American female streetcar conductor. [She] earned a Presidential Medal of Freedom as an acclaimed poet, author and civil rights activist. Her poems such as 'Phenomenal Woman' and 'Still I Rise' continue to inspire generations of female activists. It is truly fitting that when San Franciscans visit the library, they will be greeted by Dr. Angelou.\"\u003c/p>\n\u003cp>The measure comes as San Francisco and other cities rethink which historical figures should be memorialized on government owned property.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, city officials \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\" target=\"_blank\" rel=\"noopener\">removed the \"Early Days\" monument\u003c/a> at Civic Center Plaza, which depicts a vaquero and a missionary looming over a Native American, a statue deemed racist by activists, cultural organizations and many elected leaders.\u003c/p>\n\u003cp>The sponsors of the ordinance which passed on Tuesday — supervisors Catherine Stefani, Hillary Ronen, Jane Kim and Vallie Brown — note that of the 585 permanently sited works in the Arts Commission's civic art collection, 87 are sculptural monuments and memorials, and only two of those depict nonfictional women: a statue of Sen. Dianne Feinstein inside City Hall, and a \u003ca href=\"https://www.artandarchitecture-sf.com/florence-nightingale.html\" target=\"_blank\" rel=\"noopener\">statue of Florence Nightingale\u003c/a> outside Laguna Honda Hospital, which was completed in 1937 as part of a federal artists program.\u003c/p>\n\u003cp>Stefani said the measure is an important step toward turning the tide against the lack of women represented in so many facets of U.S. society.\u003c/p>\n\u003cp>\"In San Francisco and across our nation, women are under-represented not only in leadership positions but also in public spaces,\" she said. \"The accomplishments of great women deserve to be recognized along with the accomplishments of great men. All children deserve role models they can relate to. And this law is a step forward to accomplishing this goal.\"\u003c/p>\n\u003cp>\"There is that saying, 'if you can't see it, you can't be it,'\" Stefani said. \"If young women don't see women represented broadly across different leadership roles, it becomes more difficult to fully realize they can be anything they want to be.\"\u003c/p>\n\u003cp>Catherine Wagner, a Bay Area artist who has created public art projects around the world and whose latest local piece is scheduled to be unveiled in the South of Market neighborhood next year, said it’s about time San Francisco gave women greater representation. But she’s puzzled as to why the city decided to do it at 30 percent.\u003c/p>\n\u003cp>\"Not that I'm looking a gift horse in the mouth, but I'm wondering why wasn’t it 50?\" she asked.\u003c/p>\n\u003cp>Stefani said the selection of the 30 percent number had to do with critical mass.\u003c/p>\n\u003cp>\"People have asked why not 50 percent? Well at 30 percent representation, we really do start to see a shift,\" Stefani said. \"Research suggests that 30 percent is the proportion when critical mass is actually reached in a group setting. The voices of the minority group become heard in their own right rather than simply representing the minority.\"\u003c/p>\n\u003cp>Noting a \"void\" of public representations of female role models, the ordinance explicitly aims to combat a \"silent message of women's insignificance\":\u003c/p>\n\u003cblockquote>\u003cp>Throughout society, the failure to honor accomplished women through statues, monuments, memorials, and plaques on public display, in San Francisco and elsewhere, leaves a harmful void in our public spaces. Instead of there being on display plentiful historical role models for everyone to see, celebrate, honor, and emulate, there is a different, disturbing message conveyed by this void. It silently communicates a message of women's insignificance in government and politics, commerce, labor, arts, sciences, and the professions, among other human endeavors, and thus reinforces the antiquated stereotype of women not serving in positions of leadership or otherwise making notable historical accomplishments — a stereotype at odds with reality and with the City's commitment to equal opportunity for all.\u003c/p>\u003c/blockquote>\n\u003cp>Tuesday's Board of Supervisors vote comes just two days after \u003ca href=\"https://www.kqed.org/news/11695609/california-to-become-first-state-to-require-companies-include-women-on-corporate-boards\" target=\"_blank\" rel=\"noopener\">Gov. Jerry Brown signed legislation to\u003c/a> force publicly held companies based in California to have at least one woman on their boards of directors by the end of next year.\u003c/p>\n\u003cp>The ordinance will also create a fund that would accept gifts to pay for the design and construction of new works of art, as well as the repair, maintenance and improvement of public art depicting historically significant women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/perspectives/201601136412/love-hate-and-the-blue-angels\" target=\"_blank\" rel=\"noopener\">Love it or hate it\u003c/a>, it's San Francisco Fleet Week again. Have questions? We've got you covered.\u003c/p>\n\u003cp>\u003cstrong>What is Fleet Week?\u003c/strong>\u003c/p>\n\u003cp>Every October since 1981, military ships fill San Francisco Bay and the Blue Angels usually take to the skies.\u003ca href=\"https://fleetweeksf.org/\"> Fleet Week\u003c/a> is a celebration of the \u003ca href=\"https://fleetweeksf.org/about-us/\" target=\"_blank\" rel=\"noopener\">Bay Area's naval history\u003c/a> and is made up of a series of events taking place all around San Francisco, from art exhibits to ship tours and air shows. The U.S. Navy, U.S. Coast Guard, U.S. Marine Corps and the California National Guard are all partners for this event.\u003c/p>\n\u003cp>“Fleet Week is a time when we celebrate our city’s rich naval history and maritime traditions and pay tribute to the men and women of our Armed Forces for their service to the defense of our country,” San Francisco Mayor London Breed said in a press release.\u003c/p>\n\u003cp>It's known to draw millions of visitors and, according to the press release from Breed, Fleet Week brings over $100 million to San Francisco's economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year it takes place Oct. 1 through Oct. 8. This year's festivities kicked off with emergency preparedness and response exercises.\u003c/p>\n\u003cp>\u003cstrong>Where will it be?\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://fleetweeksf.org/events/\" target=\"_blank\" rel=\"noopener\">Parade of Ships\u003c/a> takes place at 11 a.m. on Friday, Oct. 5. It's what it sounds like: an event in which U.S. Navy ships parade on the bay and go under the Golden Gate Bridge. Marina Green is a prime spot to watch the parade, and if you stick around, the San Francisco Fleet Week Air Show follows it from 12 p.m. to 4 p.m.\u003c/p>\n\u003cp>The air show takes place over three days, so if you miss Friday's show, you can catch it Saturday and Sunday. All you have to do is head over to the festival at Marina Green (it's free!), but if you're looking for a better view and don't want to bring your own chair, they do \u003ca href=\"https://fleetweeksf.org/tickets/\" target=\"_blank\" rel=\"noopener\">offer tickets\u003c/a> for prime spots.\u003c/p>\n\u003cp>Check out the full calendar of events (with a map!) \u003ca href=\"https://fleetweeksf.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>What are the Blue Angels?\u003c/strong>\u003c/p>\n\u003cp>San Franciscans are split on whether they \u003ca href=\"https://www.kqed.org/perspectives/201601136412/love-hate-and-the-blue-angels\" target=\"_blank\" rel=\"noopener\">love or hate\u003c/a> this high-flying show featuring aerial acrobatics by the U.S. Navy's Blue Angels. Still, their three-day air show is one of the more popular Fleet Week events.\u003c/p>\n\u003cp>Some complain about the noise, \u003ca href=\"https://www.kqed.org/news/77575/how-much-do-the-blue-angels-cost\" target=\"_blank\" rel=\"noopener\">cost\u003c/a> and pollution, but it does bring in \u003ca href=\"https://www.kqed.org/news/77575/how-much-do-the-blue-angels-cost\" target=\"_blank\" rel=\"noopener\">an estimated 1 million people\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/FleetWeekSF/status/1044988745546706944\u003c/p>\n\u003cp>\u003cstrong>What should you bring?\u003c/strong>\u003c/p>\n\u003cp>Camera, backup battery, binoculars (depending on how far you are from the air show) and a map. You might also find the Fleet Week \u003ca href=\"https://fleetweeksf.org/download-the-mobile-app/\" target=\"_blank\" rel=\"noopener\">mobile app\u003c/a> useful.\u003c/p>\n\u003cp>\u003cstrong>Getting Around \u003c/strong>\u003c/p>\n\u003cp>Depending on which event you're attending, and its location in the city, parking may be a challenge. The \u003ca href=\"https://fleetweeksf.org/parking/\" target=\"_blank\" rel=\"noopener\">Fleet Week website\u003c/a> is offering a quick and easy way to reserve parking at various lots for a slight discount. If you're planning to attend events over the weekend, do keep in mind \u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> will also be taking place, so parking may be harder to find.\u003c/p>\n\u003cp>If you're getting around the city via public transit, use \u003ca href=\"https://511.org/\" target=\"_blank\" rel=\"noopener\">511\u003c/a> to help plan your trip. With many events happening this weekend and the closure of the Salesforce Transit Center, it might also be helpful to \u003ca href=\"https://www.sfmta.com/travel-transit-updates\" target=\"_blank\" rel=\"noopener\">check for advisories\u003c/a> before heading out.\u003c/p>\n\u003cp>The San Francisco Bay Ferry is \u003ca href=\"https://sanfranciscobayferry.com/\" target=\"_blank\" rel=\"noopener\">expanding service\u003c/a> this weekend on Saturday, Oct. 6 and Sunday, Oct. 7. There will be 11 round trips each day from \u003ca href=\"https://sanfranciscobayferry.com/sites/sfbf/files/FleetWeek2018vallejo.pdf\" target=\"_blank\" rel=\"noopener\">Vallejo to San Francisco\u003c/a> and 23 trips from \u003ca href=\"https://sanfranciscobayferry.com/sites/sfbf/files/FleetWeek2018aosf.pdf\" target=\"_blank\" rel=\"noopener\">Alameda/Oakland to San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>What hashtag should people use on social media?\u003c/strong>\u003c/p>\n\u003cp>#FleetWeekSF\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tag @KQEDNews in your Twitter and Instagram posts and we might feature your photos and videos!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/perspectives/201601136412/love-hate-and-the-blue-angels\" target=\"_blank\" rel=\"noopener\">Love it or hate it\u003c/a>, it's San Francisco Fleet Week again. Have questions? We've got you covered.\u003c/p>\n\u003cp>\u003cstrong>What is Fleet Week?\u003c/strong>\u003c/p>\n\u003cp>Every October since 1981, military ships fill San Francisco Bay and the Blue Angels usually take to the skies.\u003ca href=\"https://fleetweeksf.org/\"> Fleet Week\u003c/a> is a celebration of the \u003ca href=\"https://fleetweeksf.org/about-us/\" target=\"_blank\" rel=\"noopener\">Bay Area's naval history\u003c/a> and is made up of a series of events taking place all around San Francisco, from art exhibits to ship tours and air shows. The U.S. Navy, U.S. Coast Guard, U.S. Marine Corps and the California National Guard are all partners for this event.\u003c/p>\n\u003cp>“Fleet Week is a time when we celebrate our city’s rich naval history and maritime traditions and pay tribute to the men and women of our Armed Forces for their service to the defense of our country,” San Francisco Mayor London Breed said in a press release.\u003c/p>\n\u003cp>It's known to draw millions of visitors and, according to the press release from Breed, Fleet Week brings over $100 million to San Francisco's economy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year it takes place Oct. 1 through Oct. 8. This year's festivities kicked off with emergency preparedness and response exercises.\u003c/p>\n\u003cp>\u003cstrong>Where will it be?\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://fleetweeksf.org/events/\" target=\"_blank\" rel=\"noopener\">Parade of Ships\u003c/a> takes place at 11 a.m. on Friday, Oct. 5. It's what it sounds like: an event in which U.S. Navy ships parade on the bay and go under the Golden Gate Bridge. Marina Green is a prime spot to watch the parade, and if you stick around, the San Francisco Fleet Week Air Show follows it from 12 p.m. to 4 p.m.\u003c/p>\n\u003cp>The air show takes place over three days, so if you miss Friday's show, you can catch it Saturday and Sunday. All you have to do is head over to the festival at Marina Green (it's free!), but if you're looking for a better view and don't want to bring your own chair, they do \u003ca href=\"https://fleetweeksf.org/tickets/\" target=\"_blank\" rel=\"noopener\">offer tickets\u003c/a> for prime spots.\u003c/p>\n\u003cp>Check out the full calendar of events (with a map!) \u003ca href=\"https://fleetweeksf.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>What are the Blue Angels?\u003c/strong>\u003c/p>\n\u003cp>San Franciscans are split on whether they \u003ca href=\"https://www.kqed.org/perspectives/201601136412/love-hate-and-the-blue-angels\" target=\"_blank\" rel=\"noopener\">love or hate\u003c/a> this high-flying show featuring aerial acrobatics by the U.S. Navy's Blue Angels. Still, their three-day air show is one of the more popular Fleet Week events.\u003c/p>\n\u003cp>Some complain about the noise, \u003ca href=\"https://www.kqed.org/news/77575/how-much-do-the-blue-angels-cost\" target=\"_blank\" rel=\"noopener\">cost\u003c/a> and pollution, but it does bring in \u003ca href=\"https://www.kqed.org/news/77575/how-much-do-the-blue-angels-cost\" target=\"_blank\" rel=\"noopener\">an estimated 1 million people\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cstrong>What should you bring?\u003c/strong>\u003c/p>\n\u003cp>Camera, backup battery, binoculars (depending on how far you are from the air show) and a map. You might also find the Fleet Week \u003ca href=\"https://fleetweeksf.org/download-the-mobile-app/\" target=\"_blank\" rel=\"noopener\">mobile app\u003c/a> useful.\u003c/p>\n\u003cp>\u003cstrong>Getting Around \u003c/strong>\u003c/p>\n\u003cp>Depending on which event you're attending, and its location in the city, parking may be a challenge. The \u003ca href=\"https://fleetweeksf.org/parking/\" target=\"_blank\" rel=\"noopener\">Fleet Week website\u003c/a> is offering a quick and easy way to reserve parking at various lots for a slight discount. If you're planning to attend events over the weekend, do keep in mind \u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> will also be taking place, so parking may be harder to find.\u003c/p>\n\u003cp>If you're getting around the city via public transit, use \u003ca href=\"https://511.org/\" target=\"_blank\" rel=\"noopener\">511\u003c/a> to help plan your trip. With many events happening this weekend and the closure of the Salesforce Transit Center, it might also be helpful to \u003ca href=\"https://www.sfmta.com/travel-transit-updates\" target=\"_blank\" rel=\"noopener\">check for advisories\u003c/a> before heading out.\u003c/p>\n\u003cp>The San Francisco Bay Ferry is \u003ca href=\"https://sanfranciscobayferry.com/\" target=\"_blank\" rel=\"noopener\">expanding service\u003c/a> this weekend on Saturday, Oct. 6 and Sunday, Oct. 7. There will be 11 round trips each day from \u003ca href=\"https://sanfranciscobayferry.com/sites/sfbf/files/FleetWeek2018vallejo.pdf\" target=\"_blank\" rel=\"noopener\">Vallejo to San Francisco\u003c/a> and 23 trips from \u003ca href=\"https://sanfranciscobayferry.com/sites/sfbf/files/FleetWeek2018aosf.pdf\" target=\"_blank\" rel=\"noopener\">Alameda/Oakland to San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>What hashtag should people use on social media?\u003c/strong>\u003c/p>\n\u003cp>#FleetWeekSF\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tag @KQEDNews in your Twitter and Instagram posts and we might feature your photos and videos!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "consent-highlighted-at-annual-folsom-street-fair-in-san-francisco",
"title": "Consent Highlighted at Annual Folsom Street Fair in San Francisco",
"publishDate": 1538371830,
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"content": "\u003cp>The \u003ca href=\"https://www.folsomstreetevents.org/folsom-street-fair/#folsomstreetfair-essentials\" target=\"_blank\" rel=\"noopener\">largest leather event in the world\u003c/a>, with an estimated hundreds of thousands of fetish enthusiasts, took over 13 city blocks in San Francisco’s South of Market neighborhood on Sunday.\u003c/p>\n\u003cp>Amidst the food, drinks and demonstrations at the annual Folsom Street Fair were clear guidelines around consent. Posted just outside each entrance was a sign reading “gear is not consent,” “nudity is not consent,” and “no means no.”\u003c/p>\n\u003cfigure id=\"attachment_11695630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11695630\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guidelines for consent were posted outside each entrance to the Folsom Street Fair. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every year we seem to get a little less kinky people and a little more tourists,” said Bay Area activist and sex worker Maxine Holloway. “And maybe people don’t really understand the nuances of what being half-naked and still expecting people to understand your boundaries are.”\u003c/p>\n\u003cp>That’s why she says she started “\u003ca href=\"http://askfirstcampaign.org\" target=\"_blank\" rel=\"noopener\">Ask First\u003c/a>,” a sticker campaign that began at the Folsom Street Fair in 2014. It focuses on consent in sexualized environments like the fair.\u003c/p>\n\u003cfigure id=\"attachment_11695631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11695631\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-800x657.jpg\" alt=\"\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-1020x838.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-1200x986.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-1180x969.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-960x789.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-520x427.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Holloway began the “Ask First” campaign at the Folsom Street Fair in 2014. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holloway says that with all the news out of Washington D.C. right now, specifically the \u003ca href=\"https://www.kqed.org/news/tag/brett-kavanaugh/\" target=\"_blank\" rel=\"noopener\">allegations against Supreme Court nominee Brett Kavanaugh\u003c/a>, discussing concepts like consent is even more important.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Keeping that idea of consent visible and present, and keeping conversations about what consent means and looks like, is important for everybody,” she said.\u003c/p>\n\u003cp>The fair also featured a multitude of booths and activities ranging from rope tying demonstrations, naked Twister, an informal pony parade and public flogging for charity — all celebrating the diverse aspects of kink culture.\u003c/p>\n\u003cp>“There are very few places in the world where you can see this much skin in public at 11:30 in the morning,” says Brian Wiedenmeier. “And as somebody who lives and bikes in South of Market, this is part of our neighborhood. It’s part of our cultural heritage of this neighborhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, the San Francisco Board of Supervisors designated \u003ca href=\"https://www.kqed.org/arts/13832148/new-sf-cultural-districts-ordinance-aims-to-counteract-gentrification\" target=\"_blank\" rel=\"noopener\">four new cultural districts\u003c/a>, including the \u003ca href=\"https://www.kqed.org/news/11687730/community-celebrates-san-franciscos-new-leather-and-lgbtq-cultural-district\" target=\"_blank\" rel=\"noopener\">Leather and LGBTQ Cultural District\u003c/a> in South of Market.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.folsomstreetevents.org/folsom-street-fair/#folsomstreetfair-essentials\" target=\"_blank\" rel=\"noopener\">largest leather event in the world\u003c/a>, with an estimated hundreds of thousands of fetish enthusiasts, took over 13 city blocks in San Francisco’s South of Market neighborhood on Sunday.\u003c/p>\n\u003cp>Amidst the food, drinks and demonstrations at the annual Folsom Street Fair were clear guidelines around consent. Posted just outside each entrance was a sign reading “gear is not consent,” “nudity is not consent,” and “no means no.”\u003c/p>\n\u003cfigure id=\"attachment_11695630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11695630\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33005_IMG_2016-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guidelines for consent were posted outside each entrance to the Folsom Street Fair. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every year we seem to get a little less kinky people and a little more tourists,” said Bay Area activist and sex worker Maxine Holloway. “And maybe people don’t really understand the nuances of what being half-naked and still expecting people to understand your boundaries are.”\u003c/p>\n\u003cp>That’s why she says she started “\u003ca href=\"http://askfirstcampaign.org\" target=\"_blank\" rel=\"noopener\">Ask First\u003c/a>,” a sticker campaign that began at the Folsom Street Fair in 2014. It focuses on consent in sexualized environments like the fair.\u003c/p>\n\u003cfigure id=\"attachment_11695631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11695631\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-800x657.jpg\" alt=\"\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-1020x838.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-1200x986.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-1180x969.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-960x789.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS33004_IMG_2020-qut-520x427.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Holloway began the “Ask First” campaign at the Folsom Street Fair in 2014. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holloway says that with all the news out of Washington D.C. right now, specifically the \u003ca href=\"https://www.kqed.org/news/tag/brett-kavanaugh/\" target=\"_blank\" rel=\"noopener\">allegations against Supreme Court nominee Brett Kavanaugh\u003c/a>, discussing concepts like consent is even more important.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Keeping that idea of consent visible and present, and keeping conversations about what consent means and looks like, is important for everybody,” she said.\u003c/p>\n\u003cp>The fair also featured a multitude of booths and activities ranging from rope tying demonstrations, naked Twister, an informal pony parade and public flogging for charity — all celebrating the diverse aspects of kink culture.\u003c/p>\n\u003cp>“There are very few places in the world where you can see this much skin in public at 11:30 in the morning,” says Brian Wiedenmeier. “And as somebody who lives and bikes in South of Market, this is part of our neighborhood. It’s part of our cultural heritage of this neighborhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, the San Francisco Board of Supervisors designated \u003ca href=\"https://www.kqed.org/arts/13832148/new-sf-cultural-districts-ordinance-aims-to-counteract-gentrification\" target=\"_blank\" rel=\"noopener\">four new cultural districts\u003c/a>, including the \u003ca href=\"https://www.kqed.org/news/11687730/community-celebrates-san-franciscos-new-leather-and-lgbtq-cultural-district\" target=\"_blank\" rel=\"noopener\">Leather and LGBTQ Cultural District\u003c/a> in South of Market.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Renowned Cellist Yo-Yo Ma Plays Oakland Block Party",
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"content": "\u003cp>Renowned cellist Yo-Yo Ma is \u003ca href=\"http://calperformances.org/performances/2018-19/special-events/yo-yo-ma-cello-the-complete-bach-suites.php\" target=\"_blank\" rel=\"noopener\">performing in Berkeley\u003c/a> on Sunday. But before taking the stage at the Greek Theater, he took to the streets, playing at an Oakland block party on Saturday.\u003c/p>\n\u003cp>The artist is \u003ca href=\"http://bach.yo-yoma.com/\" target=\"_blank\" rel=\"noopener\">performing Johann Sebastian Bach’s\u003c/a> six suites for solo cello in one sitting, in 36 locations around the world. The day before each concert, he's collaborating with a local group to put on community pre-shows, like Saturday's show in downtown Oakland, where he jammed with a group of high school-aged siblings, known as \u003ca href=\"http://jaxtheband.com/\" target=\"_blank\" rel=\"noopener\">JAX\u003c/a>.\u003c/p>\n\u003cp>Ma said the community shows are all about reinforcing connections, imagination and humanity.\u003c/p>\n\u003cp>\"We do live in a more and more fractured world,\" Ma said. \"I want to make sure that all the things we invented in culture — including sciences, music, languages — is there to serve us.\"\u003c/p>\n\u003cp>Ma sits on the board of an Oakland-based high school innovation nonprofit \u003ca href=\"https://xqsuperschool.org/\" target=\"_blank\" rel=\"noopener\">XQ Institute\u003c/a>, which co-hosted Saturday's event.\u003c/p>\n\u003cfigure id=\"attachment_11695538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11695538 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/IMG_6843-800x533.jpg\" alt=\"Lehnen Brown of Oakland and Nina Ruymaker of Berkeley enjoy a joint performance by JAX and Yo-Yo Ma.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lehnen Brown of Oakland and Nina Ruymaker of Berkeley enjoy a joint performance by JAX and Yo-Yo Ma. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"He's going into community, working with community groups to help them become change agents, to see the change they want for themselves manifest,\" XQ institute Co-Founder and CEO Russlynn Ali said. \"We have partnered with him here in Oakland to focus on the notion of transforming America's high schools. Our high schools have not been transformed in over one hundred years, the data are quite frankly, abysmal.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The collaboration featured music, visual artists, free food from local restaurants and a master class for young cellists taught by the legendary musician.\u003c/p>\n\u003cfigure id=\"attachment_11695533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11695533 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/IMG_6836-800x533.jpg\" alt=\"Artists work on their installations at the Oakland Block Party featuring Yo-Yo Ma.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists work on their installations at the Oakland Block Party featuring Yo-Yo Ma. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Renowned cellist Yo-Yo Ma is \u003ca href=\"http://calperformances.org/performances/2018-19/special-events/yo-yo-ma-cello-the-complete-bach-suites.php\" target=\"_blank\" rel=\"noopener\">performing in Berkeley\u003c/a> on Sunday. But before taking the stage at the Greek Theater, he took to the streets, playing at an Oakland block party on Saturday.\u003c/p>\n\u003cp>The artist is \u003ca href=\"http://bach.yo-yoma.com/\" target=\"_blank\" rel=\"noopener\">performing Johann Sebastian Bach’s\u003c/a> six suites for solo cello in one sitting, in 36 locations around the world. The day before each concert, he's collaborating with a local group to put on community pre-shows, like Saturday's show in downtown Oakland, where he jammed with a group of high school-aged siblings, known as \u003ca href=\"http://jaxtheband.com/\" target=\"_blank\" rel=\"noopener\">JAX\u003c/a>.\u003c/p>\n\u003cp>Ma said the community shows are all about reinforcing connections, imagination and humanity.\u003c/p>\n\u003cp>\"We do live in a more and more fractured world,\" Ma said. \"I want to make sure that all the things we invented in culture — including sciences, music, languages — is there to serve us.\"\u003c/p>\n\u003cp>Ma sits on the board of an Oakland-based high school innovation nonprofit \u003ca href=\"https://xqsuperschool.org/\" target=\"_blank\" rel=\"noopener\">XQ Institute\u003c/a>, which co-hosted Saturday's event.\u003c/p>\n\u003cfigure id=\"attachment_11695538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11695538 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/IMG_6843-800x533.jpg\" alt=\"Lehnen Brown of Oakland and Nina Ruymaker of Berkeley enjoy a joint performance by JAX and Yo-Yo Ma.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6843-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lehnen Brown of Oakland and Nina Ruymaker of Berkeley enjoy a joint performance by JAX and Yo-Yo Ma. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"He's going into community, working with community groups to help them become change agents, to see the change they want for themselves manifest,\" XQ institute Co-Founder and CEO Russlynn Ali said. \"We have partnered with him here in Oakland to focus on the notion of transforming America's high schools. Our high schools have not been transformed in over one hundred years, the data are quite frankly, abysmal.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The collaboration featured music, visual artists, free food from local restaurants and a master class for young cellists taught by the legendary musician.\u003c/p>\n\u003cfigure id=\"attachment_11695533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11695533 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/IMG_6836-800x533.jpg\" alt=\"Artists work on their installations at the Oakland Block Party featuring Yo-Yo Ma.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/IMG_6836-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists work on their installations at the Oakland Block Party featuring Yo-Yo Ma. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected",
"title": "A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>By the time Alice McLeod met her future husband \u003ca href=\"https://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> in 1963, the classically trained musician with a background in gospel had already mastered bebop piano. Like John, she was looking to push jazz further.\u003c/p>\n\u003cp>She’d join his group on piano in 1966, replacing \u003ca href=\"http://www.mccoytyner.com/\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a>, spurring John’s exploration of explosive free jazz and world music on albums like \u003cem>\u003ca href=\"https://www.allmusic.com/album/expression-mw0000197323\" target=\"_blank\" rel=\"noopener\">Expression\u003c/a>, \u003ca href=\"https://www.allmusic.com/album/cosmic-music-mw0002215455\" target=\"_blank\" rel=\"noopener\">Cosmic Music \u003c/a>\u003c/em>and \u003ca href=\"https://www.allmusic.com/album/stellar-regions-mw0000176627\" target=\"_blank\" rel=\"noopener\">\u003cem>Stellar Regions.\u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11693833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11693833\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1180x888.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-520x391.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane in the recording studio in 1966. \u003ccite>(Courtesy of Chuck Stewart / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple married in 1965, started a family and collaborated musically and spiritually until John’s untimely death, just four years after meeting, in 1967. He was just 40 years old.\u003c/p>\n\u003cp>Alice Coltrane talked about their partnership during a rare 1981 interview on \u003ca href=\"https://www.npr.org/2011/09/23/140743198/alice-coltrane-on-piano-jazz\" target=\"_blank\" rel=\"noopener\">NPR’s \u003cem>Piano Jazz\u003c/em> program\u003c/a>.\u003c/p>\n\u003cp>“He really didn’t have to talk or instruct with the music,\" says Coltrane during the show. \"He really didn’t have to do that. Just being around him, listening to him express his ideas musically, it really was very inspirational.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>John encouraged Alice to take up the harp — an instrument that long fascinated both of them. During a visit to a music store, he ordered one for her. It was delivered to the family’s home just weeks after John’s death. She mastered it well enough to play it on her debut 1968 album, a tribute to her late husband, called \u003ca href=\"https://www.allmusic.com/album/a-monastic-trio-mw0000601109\" target=\"_blank\" rel=\"noopener\">\u003cem>A Monastic Trio\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11694344\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694344 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg\" alt=\"\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-1020x919.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-960x865.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-240x216.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-520x468.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane and harp on the cover of the artist’s debut album as bandleader, 'A Monastic Trio.' \u003ccite>(Courtesy of AliceColtrane.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One can only wonder what dedication that takes to get up to that level that she did so fast while still in mourning,” says jazz critic \u003ca href=\"https://jazztimes.com/features/the-gifts-god-gave-him/\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, who wrote the liner notes for a new Alice Coltrane retrospective, \u003ca href=\"https://shop.realgonemusic.com/products/alice-coltrane-spiritual-eternal-2cd-set\" target=\"_blank\" rel=\"noopener\">\u003cem>Spiritual Eternal — The Complete Warner Bros. Studio Recordings\u003c/em>\u003c/a>, which collects her three studio albums recorded for Warner Bros. shortly after her move to Southern California from New Jersey.\u003c/p>\n\u003cp>“The only way to explain it is cosmic intervention or really, really deep dedication,” says Kahn, speaking from his home in New York.\u003c/p>\n\u003cp>The harp would become a fixture of Alice Coltrane’s subsequent albums, including the three studio sets recorded for Warner between 1975 and 1978.\u003c/p>\n\u003cp>The harp, the same one purchased for her by John Coltrane, and her piano sit where they have for decades: in the front room of the Coltrane family home on a spacious semi-rural property in Woodland Hills, where the family resettled.\u003c/p>\n\u003cp>“That’s \u003cem>the\u003c/em> harp, and I took the cover off for you. Because we need to see it sometimes,” says daughter \u003ca href=\"http://michellecoltrane.com/\" target=\"_blank\" rel=\"noopener\">Sita Michelle Coltrane\u003c/a>, a jazz vocalist and eldest of four Coltrane children. Sita Michelle lives there now with her family.\u003c/p>\n\u003cfigure id=\"attachment_11694346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11694346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sita Michelle Coltrane poses with her mother’s harp, purchased for her by her father, John Coltrane in 1967, in the Coltrane family home in Woodland Hills, California. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sita Michelle remembers making the move from New Jersey to the new and wondrous world of Southern California in the early 1970s. She’d sometimes join her mom in the Warner Bros. studio in Burbank, playing hand percussion and chanting on several songs inspired by traditional Indian devotional songs, called \u003ca href=\"https://www.loc.gov/audio/?all=true&fa=language:hindi%7Csubject:bhajans,+hindi\" target=\"_blank\" rel=\"noopener\">bhajans\u003c/a>.\u003c/p>\n\u003cp>\"My brothers and me, we know a lot of bhajans because they’re like church hymns to us,\" says Coltrane. \"Even though it was [in] Sanskrit we could sing them. It was part of our life.\"\u003c/p>\n\u003cfigure id=\"attachment_11694348\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694348 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of Alice Coltrane’s 1977 Warner Bros. album ‘Transcendence,’ sits atop Coltrane’s piano, along with other keepsakes, in the Coltrane home in Woodland Hills. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the music Alice Coltrane recorded for Warner during this period began taking shape at this home in Woodland Hills, inspired by a deepening exploration of Indian music, meditation and Hinduism.\u003c/p>\n\u003cp>“It goes all the way back to Africa. They were chanting mantras back in Africa,” says \u003ca href=\"https://kripalu.org/presenters-programs/presenters/purusha-hickson\" target=\"_blank\" rel=\"noopener\">Purusha Hickson\u003c/a>, a Camarillo-based yoga instructor and musician who performed on Coltrane’s three Warner Bros. albums. He also became one of the first people to join Alice Coltrane’s ashram.\u003c/p>\n\u003cp>“(Coltrane’s) coming up in the church, and then her association with the great John Coltrane. She brought all of that, along with her own deep connection with God,” says Hickson, speaking on the patio of his secluded poolside studio apartment overlooking some Ventura County vineyards.\u003c/p>\n\u003cfigure id=\"attachment_11694349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-520x345.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Purusha Hickson (l) performing the devotional music of Alice Coltrane with members of the Sai Anantam Ashram in 2017. \u003ccite>(Courtesy of Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And even though she had some questionable musicians, speaking of myself,” he laughs, \"it didn’t matter, it was not about that. She said, 'Bring your heart, bring that.' \"\u003c/p>\n\u003cp>Hickson would also join Coltrane on a series of meditative devotional recordings she recorded professionally in the studio, but distributed privately in very small quantities on cassette tape in the '80s and '90s. Selections from this series of four impossible-to-find tapes finally saw wider release last year on the Luaka Bop collection \u003ca href=\"https://luakabop.com/catalog/world-spirituality-classics-1-the-ecstatic-music-of-alice-coltrane-turiyasangitananda/\" target=\"_blank\" rel=\"noopener\">\u003cem>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Glimpses of what was to come on these later recordings were already starting to appear in the 1970s at the Warner Bros. studio.\u003c/p>\n\u003cfigure id=\"attachment_11694351\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694351 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-%E2%80%94-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane (center, in orange) in an undated photo with members of her Sai Anantam Ashram in Agoura Hills. \u003ccite>(SRI HARI MOSS / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family's new life in Southern California and Coltrane’s blossoming spirituality are reflected on the song ‘\u003cem>Om Supreme’\u003c/em> from the album \u003ca href=\"https://www.allmusic.com/album/eternity-mw0000217533\" target=\"_blank\" rel=\"noopener\">\u003cem>Eternit\u003c/em>\u003c/a> — her first \"L.A.\" record for Warner. On it, Coltrane evokes what she perceived as the spiritual forces that drew her out West to begin life anew.\u003c/p>\n\u003cp>The song includes the mantra-like chanting of a small chorus: \u003cem>“When I told you to come to California / you knew I would meet you in California / When I told you to come to California / you knew I would meet you in California / CALIFORNIA, IN CALIFORNIA!”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eternity\u003c/em> is largely driven by Coltrane’s surging Wurlitzer organ outfitted with an analog synthesizer that Ashley Kahn says enabled her to bend and stretch the notes much like an in-your-face tenor saxophonist.\u003c/p>\n\u003cp>“[It sounds] very Eastern, the way that a sitar player loves to bend the strings, that modulating tone that she’d hit,” explains Kahn.\u003c/p>\n\u003cfigure id=\"attachment_11694356\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694356 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-160x106.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1020x674.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1200x793.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1180x779.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-960x634.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-240x159.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-375x248.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-520x343.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coltrane home in Woodland Hills, occupied by daughter Sita Michelle and family, is adorned with images and keepsakes of Alice and John Coltrane. \u003ccite>(Steven Cuevas/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It would bend a little bit further. That really becomes part of her sonic vocabulary with the Warner (Bros.) period.”\u003c/p>\n\u003cp>Two more studio albums for Warner would follow in quick succession: \u003ca href=\"http://www.bbc.co.uk/music/reviews/f6mq/\" target=\"_blank\" rel=\"noopener\">\u003cem>Radha-Krsna Nama Sankirtana\u003c/em>\u003c/a> in 1976 and \u003ca href=\"https://en.wikipedia.org/wiki/Transcendence_(Alice_Coltrane_album)\">\u003cem>Transcendence\u003c/em>\u003c/a> the following year. They’d be the furthest yet that Coltrane would get from conventional jazz. Instead, the albums are looser and deeply rooted in gospel and Indian music. There are fewer \"professional\" jazz musicians in the mix, and the albums are awash with exotic ensemble percussion and chanting choruses.\u003c/p>\n\u003cp>Purusha Hickson says the recording sessions were joyful. Even Carlos Santana dropped in for one session, happy to play some simple hand percussion after his guitar broke. Hickson says Coltrane was an exacting bandleader, but one who encouraged musicians to take risks and find their own groove.\u003c/p>\n\u003cp>“More like a village musician when there is a celebration, just picking up a drum or clave because you want to participate in the celebration,” says Hickson, clearly still deeply affected by his experiences and decades-long friendship with Coltrane.\u003c/p>\n\u003cp>“Our participation was chanting Sanskrit, traditional mantras that have sound vibration qualities. They are uplifting for the mind and spirit.”\u003c/p>\n\u003cfigure id=\"attachment_11694354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694354 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1020x637.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1200x749.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1180x737.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-960x599.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-240x150.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-375x234.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-520x325.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane during the photo shoot for the 2004 album ‘Translinear Light,’ her last “commercial” album in her lifetime. \u003ccite>(Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of Coltrane’s Warner Bros. contract, there were new priorities; the founding of a \u003ca href=\"http://thevedanticcenter.org/\" target=\"_blank\" rel=\"noopener\">spiritual retreat and ashram\u003c/a>, pursuit of purely devotional music and the everyday demands of raising four kids on her own. Daughter Sita Michelle says Alice still did the occasional concert, but at select venues only. The long nights in smoky jazz clubs were over.\u003c/p>\n\u003cp>“They were smoking then, the alcohol. This is now a person that’s taken spiritual vows, devoted herself to God,” says Coltrane of her mother. “It really wasn’t a (music) where you shake your hips. It all fit with the lifestyle she’d chosen.”\u003c/p>\n\u003cp>As Alice Coltrane suggested to NPR host and jazz pianist \u003ca href=\"https://www.allmusic.com/artist/marian-mcpartland-mn0000824866\" target=\"_blank\" rel=\"noopener\">Marian McPartland\u003c/a> on \u003cem>Piano Jazz \u003c/em>in 1981, a new musical phase was taking shape, one that would take her even further from jazz and Western music altogether.\u003c/p>\n\u003cp>“I am not currently contracted, and since the Warner Bros. contract finalized, that was in 1978 when I made the last (live) double record album (\u003cem>Transfiguration\u003c/em>) for them.”\u003c/p>\n\u003cp>The music Alice Coltrane would create over the ensuing 25 years was devoted almost entirely to her spiritual life. She’d release just one more commercial jazz album, \u003cem>\u003ca href=\"https://www.allmusic.com/album/translinear-light-mw0000401754\" target=\"_blank\" rel=\"noopener\">Translinear Light\u003c/a>,\u003c/em> in 2004 accompanied by her son, the acclaimed jazz saxophonist and composer Ravi Coltrane. She died three years later at the age of 69.\u003c/p>\n\u003cp>Coltrane's explorations may have alienated some jazz purists over the years. But they’ve won generations of new fans and inspired musicians (including saxophonist Kamasi Washington, Thom Yorke of Radiohead and indie rock veterans Yo La Tengo) far beyond the world of jazz.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>'Alice Coltrane: Spiritual Eternal — The Complete Warner Bros. Studio Recordings' was released Sept. 7 by the Real Gone Music label.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Alice McLeod met her future husband \u003ca href=\"https://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> in 1963, the classically trained musician with a background in gospel had already mastered bebop piano. Like John, she was looking to push jazz further.\u003c/p>\n\u003cp>She’d join his group on piano in 1966, replacing \u003ca href=\"http://www.mccoytyner.com/\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a>, spurring John’s exploration of explosive free jazz and world music on albums like \u003cem>\u003ca href=\"https://www.allmusic.com/album/expression-mw0000197323\" target=\"_blank\" rel=\"noopener\">Expression\u003c/a>, \u003ca href=\"https://www.allmusic.com/album/cosmic-music-mw0002215455\" target=\"_blank\" rel=\"noopener\">Cosmic Music \u003c/a>\u003c/em>and \u003ca href=\"https://www.allmusic.com/album/stellar-regions-mw0000176627\" target=\"_blank\" rel=\"noopener\">\u003cem>Stellar Regions.\u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11693833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11693833\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1180x888.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-520x391.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane in the recording studio in 1966. \u003ccite>(Courtesy of Chuck Stewart / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple married in 1965, started a family and collaborated musically and spiritually until John’s untimely death, just four years after meeting, in 1967. He was just 40 years old.\u003c/p>\n\u003cp>Alice Coltrane talked about their partnership during a rare 1981 interview on \u003ca href=\"https://www.npr.org/2011/09/23/140743198/alice-coltrane-on-piano-jazz\" target=\"_blank\" rel=\"noopener\">NPR’s \u003cem>Piano Jazz\u003c/em> program\u003c/a>.\u003c/p>\n\u003cp>“He really didn’t have to talk or instruct with the music,\" says Coltrane during the show. \"He really didn’t have to do that. Just being around him, listening to him express his ideas musically, it really was very inspirational.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>John encouraged Alice to take up the harp — an instrument that long fascinated both of them. During a visit to a music store, he ordered one for her. It was delivered to the family’s home just weeks after John’s death. She mastered it well enough to play it on her debut 1968 album, a tribute to her late husband, called \u003ca href=\"https://www.allmusic.com/album/a-monastic-trio-mw0000601109\" target=\"_blank\" rel=\"noopener\">\u003cem>A Monastic Trio\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11694344\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694344 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg\" alt=\"\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-1020x919.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-960x865.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-240x216.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-520x468.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane and harp on the cover of the artist’s debut album as bandleader, 'A Monastic Trio.' \u003ccite>(Courtesy of AliceColtrane.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One can only wonder what dedication that takes to get up to that level that she did so fast while still in mourning,” says jazz critic \u003ca href=\"https://jazztimes.com/features/the-gifts-god-gave-him/\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, who wrote the liner notes for a new Alice Coltrane retrospective, \u003ca href=\"https://shop.realgonemusic.com/products/alice-coltrane-spiritual-eternal-2cd-set\" target=\"_blank\" rel=\"noopener\">\u003cem>Spiritual Eternal — The Complete Warner Bros. Studio Recordings\u003c/em>\u003c/a>, which collects her three studio albums recorded for Warner Bros. shortly after her move to Southern California from New Jersey.\u003c/p>\n\u003cp>“The only way to explain it is cosmic intervention or really, really deep dedication,” says Kahn, speaking from his home in New York.\u003c/p>\n\u003cp>The harp would become a fixture of Alice Coltrane’s subsequent albums, including the three studio sets recorded for Warner between 1975 and 1978.\u003c/p>\n\u003cp>The harp, the same one purchased for her by John Coltrane, and her piano sit where they have for decades: in the front room of the Coltrane family home on a spacious semi-rural property in Woodland Hills, where the family resettled.\u003c/p>\n\u003cp>“That’s \u003cem>the\u003c/em> harp, and I took the cover off for you. Because we need to see it sometimes,” says daughter \u003ca href=\"http://michellecoltrane.com/\" target=\"_blank\" rel=\"noopener\">Sita Michelle Coltrane\u003c/a>, a jazz vocalist and eldest of four Coltrane children. Sita Michelle lives there now with her family.\u003c/p>\n\u003cfigure id=\"attachment_11694346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11694346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sita Michelle Coltrane poses with her mother’s harp, purchased for her by her father, John Coltrane in 1967, in the Coltrane family home in Woodland Hills, California. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sita Michelle remembers making the move from New Jersey to the new and wondrous world of Southern California in the early 1970s. She’d sometimes join her mom in the Warner Bros. studio in Burbank, playing hand percussion and chanting on several songs inspired by traditional Indian devotional songs, called \u003ca href=\"https://www.loc.gov/audio/?all=true&fa=language:hindi%7Csubject:bhajans,+hindi\" target=\"_blank\" rel=\"noopener\">bhajans\u003c/a>.\u003c/p>\n\u003cp>\"My brothers and me, we know a lot of bhajans because they’re like church hymns to us,\" says Coltrane. \"Even though it was [in] Sanskrit we could sing them. It was part of our life.\"\u003c/p>\n\u003cfigure id=\"attachment_11694348\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694348 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of Alice Coltrane’s 1977 Warner Bros. album ‘Transcendence,’ sits atop Coltrane’s piano, along with other keepsakes, in the Coltrane home in Woodland Hills. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the music Alice Coltrane recorded for Warner during this period began taking shape at this home in Woodland Hills, inspired by a deepening exploration of Indian music, meditation and Hinduism.\u003c/p>\n\u003cp>“It goes all the way back to Africa. They were chanting mantras back in Africa,” says \u003ca href=\"https://kripalu.org/presenters-programs/presenters/purusha-hickson\" target=\"_blank\" rel=\"noopener\">Purusha Hickson\u003c/a>, a Camarillo-based yoga instructor and musician who performed on Coltrane’s three Warner Bros. albums. He also became one of the first people to join Alice Coltrane’s ashram.\u003c/p>\n\u003cp>“(Coltrane’s) coming up in the church, and then her association with the great John Coltrane. She brought all of that, along with her own deep connection with God,” says Hickson, speaking on the patio of his secluded poolside studio apartment overlooking some Ventura County vineyards.\u003c/p>\n\u003cfigure id=\"attachment_11694349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-520x345.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Purusha Hickson (l) performing the devotional music of Alice Coltrane with members of the Sai Anantam Ashram in 2017. \u003ccite>(Courtesy of Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And even though she had some questionable musicians, speaking of myself,” he laughs, \"it didn’t matter, it was not about that. She said, 'Bring your heart, bring that.' \"\u003c/p>\n\u003cp>Hickson would also join Coltrane on a series of meditative devotional recordings she recorded professionally in the studio, but distributed privately in very small quantities on cassette tape in the '80s and '90s. Selections from this series of four impossible-to-find tapes finally saw wider release last year on the Luaka Bop collection \u003ca href=\"https://luakabop.com/catalog/world-spirituality-classics-1-the-ecstatic-music-of-alice-coltrane-turiyasangitananda/\" target=\"_blank\" rel=\"noopener\">\u003cem>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Glimpses of what was to come on these later recordings were already starting to appear in the 1970s at the Warner Bros. studio.\u003c/p>\n\u003cfigure id=\"attachment_11694351\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694351 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-%E2%80%94-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane (center, in orange) in an undated photo with members of her Sai Anantam Ashram in Agoura Hills. \u003ccite>(SRI HARI MOSS / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family's new life in Southern California and Coltrane’s blossoming spirituality are reflected on the song ‘\u003cem>Om Supreme’\u003c/em> from the album \u003ca href=\"https://www.allmusic.com/album/eternity-mw0000217533\" target=\"_blank\" rel=\"noopener\">\u003cem>Eternit\u003c/em>\u003c/a> — her first \"L.A.\" record for Warner. On it, Coltrane evokes what she perceived as the spiritual forces that drew her out West to begin life anew.\u003c/p>\n\u003cp>The song includes the mantra-like chanting of a small chorus: \u003cem>“When I told you to come to California / you knew I would meet you in California / When I told you to come to California / you knew I would meet you in California / CALIFORNIA, IN CALIFORNIA!”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eternity\u003c/em> is largely driven by Coltrane’s surging Wurlitzer organ outfitted with an analog synthesizer that Ashley Kahn says enabled her to bend and stretch the notes much like an in-your-face tenor saxophonist.\u003c/p>\n\u003cp>“[It sounds] very Eastern, the way that a sitar player loves to bend the strings, that modulating tone that she’d hit,” explains Kahn.\u003c/p>\n\u003cfigure id=\"attachment_11694356\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694356 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-160x106.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1020x674.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1200x793.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1180x779.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-960x634.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-240x159.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-375x248.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-520x343.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coltrane home in Woodland Hills, occupied by daughter Sita Michelle and family, is adorned with images and keepsakes of Alice and John Coltrane. \u003ccite>(Steven Cuevas/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It would bend a little bit further. That really becomes part of her sonic vocabulary with the Warner (Bros.) period.”\u003c/p>\n\u003cp>Two more studio albums for Warner would follow in quick succession: \u003ca href=\"http://www.bbc.co.uk/music/reviews/f6mq/\" target=\"_blank\" rel=\"noopener\">\u003cem>Radha-Krsna Nama Sankirtana\u003c/em>\u003c/a> in 1976 and \u003ca href=\"https://en.wikipedia.org/wiki/Transcendence_(Alice_Coltrane_album)\">\u003cem>Transcendence\u003c/em>\u003c/a> the following year. They’d be the furthest yet that Coltrane would get from conventional jazz. Instead, the albums are looser and deeply rooted in gospel and Indian music. There are fewer \"professional\" jazz musicians in the mix, and the albums are awash with exotic ensemble percussion and chanting choruses.\u003c/p>\n\u003cp>Purusha Hickson says the recording sessions were joyful. Even Carlos Santana dropped in for one session, happy to play some simple hand percussion after his guitar broke. Hickson says Coltrane was an exacting bandleader, but one who encouraged musicians to take risks and find their own groove.\u003c/p>\n\u003cp>“More like a village musician when there is a celebration, just picking up a drum or clave because you want to participate in the celebration,” says Hickson, clearly still deeply affected by his experiences and decades-long friendship with Coltrane.\u003c/p>\n\u003cp>“Our participation was chanting Sanskrit, traditional mantras that have sound vibration qualities. They are uplifting for the mind and spirit.”\u003c/p>\n\u003cfigure id=\"attachment_11694354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694354 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1020x637.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1200x749.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1180x737.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-960x599.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-240x150.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-375x234.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-520x325.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane during the photo shoot for the 2004 album ‘Translinear Light,’ her last “commercial” album in her lifetime. \u003ccite>(Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of Coltrane’s Warner Bros. contract, there were new priorities; the founding of a \u003ca href=\"http://thevedanticcenter.org/\" target=\"_blank\" rel=\"noopener\">spiritual retreat and ashram\u003c/a>, pursuit of purely devotional music and the everyday demands of raising four kids on her own. Daughter Sita Michelle says Alice still did the occasional concert, but at select venues only. The long nights in smoky jazz clubs were over.\u003c/p>\n\u003cp>“They were smoking then, the alcohol. This is now a person that’s taken spiritual vows, devoted herself to God,” says Coltrane of her mother. “It really wasn’t a (music) where you shake your hips. It all fit with the lifestyle she’d chosen.”\u003c/p>\n\u003cp>As Alice Coltrane suggested to NPR host and jazz pianist \u003ca href=\"https://www.allmusic.com/artist/marian-mcpartland-mn0000824866\" target=\"_blank\" rel=\"noopener\">Marian McPartland\u003c/a> on \u003cem>Piano Jazz \u003c/em>in 1981, a new musical phase was taking shape, one that would take her even further from jazz and Western music altogether.\u003c/p>\n\u003cp>“I am not currently contracted, and since the Warner Bros. contract finalized, that was in 1978 when I made the last (live) double record album (\u003cem>Transfiguration\u003c/em>) for them.”\u003c/p>\n\u003cp>The music Alice Coltrane would create over the ensuing 25 years was devoted almost entirely to her spiritual life. She’d release just one more commercial jazz album, \u003cem>\u003ca href=\"https://www.allmusic.com/album/translinear-light-mw0000401754\" target=\"_blank\" rel=\"noopener\">Translinear Light\u003c/a>,\u003c/em> in 2004 accompanied by her son, the acclaimed jazz saxophonist and composer Ravi Coltrane. She died three years later at the age of 69.\u003c/p>\n\u003cp>Coltrane's explorations may have alienated some jazz purists over the years. But they’ve won generations of new fans and inspired musicians (including saxophonist Kamasi Washington, Thom Yorke of Radiohead and indie rock veterans Yo La Tengo) far beyond the world of jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>'Alice Coltrane: Spiritual Eternal — The Complete Warner Bros. Studio Recordings' was released Sept. 7 by the Real Gone Music label.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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