Sinéad O’Connor, Gifted and Provocative Irish Singer, Dies at 56
Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79
Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon
Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77
Death is All Around in 2020. What Can We Do?
The Four Words Nobody Likes to Hear: You're Going to Die
Ever Wanted to Experience Your Own Death?
The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz
The Book on Death You Did Not Know You Needed
Sponsored
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FM","link":"/"}},"arts_13932088":{"type":"posts","id":"arts_13932088","meta":{"index":"posts_1591205157","site":"arts","id":"13932088","score":null,"sort":[1690397640000]},"guestAuthors":[],"slug":"sinead-oconnor-gifted-and-provocative-irish-singer-dies-at-56","title":"Sinéad O’Connor, Gifted and Provocative Irish Singer, Dies at 56","publishDate":1690397640,"format":"standard","headTitle":"Sinéad O’Connor, Gifted and Provocative Irish Singer, Dies at 56 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Sinéad O’Connor, the gifted Irish singer-songwriter who became a superstar in her mid-20s but was known as much for her private struggles and provocative actions as for her fierce and expressive music, has died at 56.\u003c/p>\n\u003cp>“It is with great sadness that we announce the passing of our beloved Sinéad. Her family and friends are devastated and have requested privacy at this very difficult time,” the singer’s family said in a statement reported Wednesday by the BBC and RTE.\u003c/p>\n\u003cp>Recognizable by her shaved head and elfin features, O’Connor began her career singing on the streets of Dublin and soon rose to international fame. She was a star from her 1987 debut album T\u003cem>he Lion and the Cobra\u003c/em> and became a sensation in 1990 with her cover of Prince’s ballad “Nothing Compares 2 U,” a seething, shattering performance that topped charts from Europe to Australia and was heightened by a video featuring the gray-eyed O’Connor in intense close-up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0-EF60neguk\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“Nothing Compares 2 U” received three Grammy nominations and was the featured track off her acclaimed album \u003cem>I Do Not Want What I Haven’t Got\u003c/em>, which helped lead \u003cem>Rolling Stone\u003c/em> to name her Artist of the Year in 1991.\u003c/p>\n\u003cp>“She proved that a recording artist could refuse to compromise and still connect with millions of listeners hungry for music of substance,” the magazine declared.\u003c/p>\n\u003cp>She was a lifelong non-conformist — she would say that she shaved her head in response to record executives pressuring her to be conventionally glamorous — but her political and cultural stances and troubled private life often overshadowed her music. She feuded with Frank Sinatra over her refusal to allow the playing of “The Star-Spangled Banner” at one of her shows and accused Prince of physically threatening her. In 1989 she declared her support for the Irish Republican Army, a statement she retracted a year later. Around the same time, she skipped the Grammy ceremony, saying it was too commercialized.[aside postid='arts_13919744']\u003c/p>\n\u003cp>A critic of the Catholic Church well before allegations sexual abuse were widely reported, O’Connor made headlines in October 1992 when she tore up a photo of Pope John Paul II while appearing live on NBC’s \u003cem>Saturday Night Live\u003c/em> and denounced the church as the enemy. The following week, Joe Pesci hosted \u003cem>Saturday Night Live\u003c/em>, held up a repaired photo of the Pope and said that if he had been on the show with O’Connor he “would have gave her such a smack.” Days later, she appeared at an all-star tribute for Bob Dylan at Madison Square Garden and was immediately booed. She was supposed to sing Dylan’s “I Believe in You,” but switched to an a cappella version of Bob Marley’s “War,” which she had sung on \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Although consoled and encouraged on stage by her friend Kris Kristofferson, she left and broke down, and her performance was kept off the concert CD. (Years later, Kristofferson recorded “Sister Sinead,” for which he wrote “And maybe she’s crazy and maybe she ain’t/But so was Picasso and so were the saints.”)\u003c/p>\n\u003cp>In 1999, O’Connor caused uproar in Ireland when she became a priestess of the breakaway Latin Tridentine Church — a position that was not recognized by the mainstream Catholic Church. For many years, she called for a full investigation into the extent of the church’s role in concealing child abuse by clergy. In 2010, when Pope Benedict XVI apologized to Ireland to atone for decades of abuse, O’Connor condemned the apology for not going far enough and called for Catholics to boycott Mass until there was a full investigation into the Vatican’s role, which by 2018 was making international headlines.\u003c/p>\n\u003cfigure id=\"attachment_13932103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg\" alt=\"a woman in a traditional Muslim headdress performs onstage\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sinead O’Connor performs on stage at Vogue Theatre on Feb. 1, 2020 in Vancouver. The singer converted to Islam in 2018 and changed her name to Shuhada’ Davitt, though she continued using ‘Sinead O’Connor’ professionally. \u003ccite>(Andrew Chin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People assumed I didn’t believe in God. That’s not the case at all. I’m Catholic by birth and culture and would be the first at the church door if the Vatican offered sincere reconciliation,” she wrote in the \u003cem>Washington Post\u003c/em> in 2010.\u003c/p>\n\u003cp>O’Connor announced in 2018 that she had converted to Islam and would be adopting the name Shuhada’ Sadaqat — although she continued to use Sinéad O’Connor professionally. In 2020, she staged a U.S. tour after years away, performing a slew of sold-out shows. The following year, she published a memoir, \u003ca href=\"https://www.npr.org/2021/06/01/992501997/sinead-oconnor-has-a-new-memoir-and-no-regrets\">\u003cem>Rememberings\u003c/em>\u003c/a>, and said she planned to keep making music, noting that the pandemic had given her time to “do what I love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The outspoken, fiercely independent singer was known for her hits, like 'Nothing Compares 2 U,' and for her criticism of the Catholic Church.","status":"publish","parent":0,"modified":1705005233,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":861},"headData":{"title":"Sinéad O’Connor, Gifted and Provocative Irish Singer, Dies at 56 | KQED","description":"The outspoken, fiercely independent singer was known for her hits, like 'Nothing Compares 2 U,' and for her criticism of the Catholic Church.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sinéad O’Connor, Gifted and Provocative Irish Singer, Dies at 56","datePublished":"2023-07-26T18:54:00.000Z","dateModified":"2024-01-11T20:33:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Sylvia Hui\u003cbr>Associated Press","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932088/sinead-oconnor-gifted-and-provocative-irish-singer-dies-at-56","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sinéad O’Connor, the gifted Irish singer-songwriter who became a superstar in her mid-20s but was known as much for her private struggles and provocative actions as for her fierce and expressive music, has died at 56.\u003c/p>\n\u003cp>“It is with great sadness that we announce the passing of our beloved Sinéad. Her family and friends are devastated and have requested privacy at this very difficult time,” the singer’s family said in a statement reported Wednesday by the BBC and RTE.\u003c/p>\n\u003cp>Recognizable by her shaved head and elfin features, O’Connor began her career singing on the streets of Dublin and soon rose to international fame. She was a star from her 1987 debut album T\u003cem>he Lion and the Cobra\u003c/em> and became a sensation in 1990 with her cover of Prince’s ballad “Nothing Compares 2 U,” a seething, shattering performance that topped charts from Europe to Australia and was heightened by a video featuring the gray-eyed O’Connor in intense close-up.\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/0-EF60neguk'\n title='//www.youtube.com/embed/0-EF60neguk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“Nothing Compares 2 U” received three Grammy nominations and was the featured track off her acclaimed album \u003cem>I Do Not Want What I Haven’t Got\u003c/em>, which helped lead \u003cem>Rolling Stone\u003c/em> to name her Artist of the Year in 1991.\u003c/p>\n\u003cp>“She proved that a recording artist could refuse to compromise and still connect with millions of listeners hungry for music of substance,” the magazine declared.\u003c/p>\n\u003cp>She was a lifelong non-conformist — she would say that she shaved her head in response to record executives pressuring her to be conventionally glamorous — but her political and cultural stances and troubled private life often overshadowed her music. She feuded with Frank Sinatra over her refusal to allow the playing of “The Star-Spangled Banner” at one of her shows and accused Prince of physically threatening her. In 1989 she declared her support for the Irish Republican Army, a statement she retracted a year later. Around the same time, she skipped the Grammy ceremony, saying it was too commercialized.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919744","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A critic of the Catholic Church well before allegations sexual abuse were widely reported, O’Connor made headlines in October 1992 when she tore up a photo of Pope John Paul II while appearing live on NBC’s \u003cem>Saturday Night Live\u003c/em> and denounced the church as the enemy. The following week, Joe Pesci hosted \u003cem>Saturday Night Live\u003c/em>, held up a repaired photo of the Pope and said that if he had been on the show with O’Connor he “would have gave her such a smack.” Days later, she appeared at an all-star tribute for Bob Dylan at Madison Square Garden and was immediately booed. She was supposed to sing Dylan’s “I Believe in You,” but switched to an a cappella version of Bob Marley’s “War,” which she had sung on \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Although consoled and encouraged on stage by her friend Kris Kristofferson, she left and broke down, and her performance was kept off the concert CD. (Years later, Kristofferson recorded “Sister Sinead,” for which he wrote “And maybe she’s crazy and maybe she ain’t/But so was Picasso and so were the saints.”)\u003c/p>\n\u003cp>In 1999, O’Connor caused uproar in Ireland when she became a priestess of the breakaway Latin Tridentine Church — a position that was not recognized by the mainstream Catholic Church. For many years, she called for a full investigation into the extent of the church’s role in concealing child abuse by clergy. In 2010, when Pope Benedict XVI apologized to Ireland to atone for decades of abuse, O’Connor condemned the apology for not going far enough and called for Catholics to boycott Mass until there was a full investigation into the Vatican’s role, which by 2018 was making international headlines.\u003c/p>\n\u003cfigure id=\"attachment_13932103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg\" alt=\"a woman in a traditional Muslim headdress performs onstage\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sinead O’Connor performs on stage at Vogue Theatre on Feb. 1, 2020 in Vancouver. The singer converted to Islam in 2018 and changed her name to Shuhada’ Davitt, though she continued using ‘Sinead O’Connor’ professionally. \u003ccite>(Andrew Chin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People assumed I didn’t believe in God. That’s not the case at all. I’m Catholic by birth and culture and would be the first at the church door if the Vatican offered sincere reconciliation,” she wrote in the \u003cem>Washington Post\u003c/em> in 2010.\u003c/p>\n\u003cp>O’Connor announced in 2018 that she had converted to Islam and would be adopting the name Shuhada’ Sadaqat — although she continued to use Sinéad O’Connor professionally. In 2020, she staged a U.S. tour after years away, performing a slew of sold-out shows. The following year, she published a memoir, \u003ca href=\"https://www.npr.org/2021/06/01/992501997/sinead-oconnor-has-a-new-memoir-and-no-regrets\">\u003cem>Rememberings\u003c/em>\u003c/a>, and said she planned to keep making music, noting that the pandemic had given her time to “do what I love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932088/sinead-oconnor-gifted-and-provocative-irish-singer-dies-at-56","authors":["byline_arts_13932088"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_2836","arts_7525"],"featImg":"arts_13932095","label":"arts"},"arts_13922130":{"type":"posts","id":"arts_13922130","meta":{"index":"posts_1591205157","site":"arts","id":"13922130","score":null,"sort":[1669842126000]},"guestAuthors":[],"slug":"fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79","title":"Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79","publishDate":1669842126,"format":"standard","headTitle":"Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79 | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>Christine McVie, the British-born \u003ca href=\"https://www.npr.org/artists/102442872/fleetwood-mac\">Fleetwood Mac\u003c/a> vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as “You Make Loving Fun,” “Everywhere” and “Don’t Stop,” died Wednesday at age 79.\u003c/p>\n\u003cp>Her death was announced on the band’s social media accounts. No cause of death or other details were immediately provided, but a family statement said she “passed away peacefully at hospital this morning” with family around her after a “short illness.”\u003c/p>\n\u003cp>“She was truly one-of-a-kind, special and talented beyond measure,” the band’s statement reads in part.\u003c/p>\n\u003cfigure id=\"attachment_13922131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg\" alt=\"a black and white photo of a five-person band in the seventies\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-2048x1445.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1920x1355.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of the rock group Fleetwood Mac, from left, Lindsey Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie pose with their Album of the Year Grammy Award for ‘Rumours’ in Los Angeles, Feb. 23, 1978. Christine McVie, the soulful British musician who sang lead on many of Fleetwood Mac’s biggest hits, has died at 79. The band announced her death on social media Wednesday. \u003ccite>(AP Photo/Richard Drew/File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McVie was a steady presence and personality in a band known for its frequent lineup changes and volatile personalities — notably fellow singer-songwriters \u003ca href=\"https://www.npr.org/2020/11/04/930448701/stevie-nicks-on-tiktok-tom-petty-and-claiming-whats-yours\">Stevie Nicks \u003c/a>and \u003ca href=\"https://www.npr.org/2011/09/17/140513778/lindsey-buckingham-a-time-to-every-purpose\">Lindsey Buckingham\u003c/a>.\u003c/p>\n\u003cp>During its peak commercial years, from 1975-80, the band sold tens of millions of records and was an ongoing source of fascination for fans as it transformed personal battles into melodic, compelling songs. McVie herself had been married to bassist John McVie, and their breakup — along with the split of Nicks and Buckingham — was famously documented on the 1977 release \u003ca href=\"https://www.npr.org/sections/allsongs/2013/01/29/170552631/why-ive-never-liked-fleetwood-macs-rumours\">“Rumours,”\u003c/a> among the bestselling albums of all time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fleetwood Mac, co-founded by drummer Mick Fleetwood in 1967, was inducted into the Rock and Roll Hall of Fame in 1998. The group’s many other hit singles included “Dreams,” “Go Your Own Way” and “Little Lies.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fleetwood+Mac+singer-songwriter+Christine+McVie+dies+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The British-born vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as \"You Make Loving Fun,\" \"Everywhere\" and \"Don't Stop,\" died Wednesday.","status":"publish","parent":0,"modified":1705006114,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":346},"headData":{"title":"Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79 | KQED","description":"The British-born vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as "You Make Loving Fun," "Everywhere" and "Don't Stop," died Wednesday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79","datePublished":"2022-11-30T21:02:06.000Z","dateModified":"2024-01-11T20:48:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"The Associated Press","nprStoryId":"1139955248","nprApiLink":"http://api.npr.org/query?id=1139955248&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/11/30/1139955248/fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79?ft=nprml&f=1139955248","nprRetrievedStory":"1","nprPubDate":"Wed, 30 Nov 2022 15:41:00 -0500","nprStoryDate":"Wed, 30 Nov 2022 15:25:24 -0500","nprLastModifiedDate":"Wed, 30 Nov 2022 15:41:33 -0500","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13922130/fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christine McVie, the British-born \u003ca href=\"https://www.npr.org/artists/102442872/fleetwood-mac\">Fleetwood Mac\u003c/a> vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as “You Make Loving Fun,” “Everywhere” and “Don’t Stop,” died Wednesday at age 79.\u003c/p>\n\u003cp>Her death was announced on the band’s social media accounts. No cause of death or other details were immediately provided, but a family statement said she “passed away peacefully at hospital this morning” with family around her after a “short illness.”\u003c/p>\n\u003cp>“She was truly one-of-a-kind, special and talented beyond measure,” the band’s statement reads in part.\u003c/p>\n\u003cfigure id=\"attachment_13922131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg\" alt=\"a black and white photo of a five-person band in the seventies\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-2048x1445.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1920x1355.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of the rock group Fleetwood Mac, from left, Lindsey Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie pose with their Album of the Year Grammy Award for ‘Rumours’ in Los Angeles, Feb. 23, 1978. Christine McVie, the soulful British musician who sang lead on many of Fleetwood Mac’s biggest hits, has died at 79. The band announced her death on social media Wednesday. \u003ccite>(AP Photo/Richard Drew/File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McVie was a steady presence and personality in a band known for its frequent lineup changes and volatile personalities — notably fellow singer-songwriters \u003ca href=\"https://www.npr.org/2020/11/04/930448701/stevie-nicks-on-tiktok-tom-petty-and-claiming-whats-yours\">Stevie Nicks \u003c/a>and \u003ca href=\"https://www.npr.org/2011/09/17/140513778/lindsey-buckingham-a-time-to-every-purpose\">Lindsey Buckingham\u003c/a>.\u003c/p>\n\u003cp>During its peak commercial years, from 1975-80, the band sold tens of millions of records and was an ongoing source of fascination for fans as it transformed personal battles into melodic, compelling songs. McVie herself had been married to bassist John McVie, and their breakup — along with the split of Nicks and Buckingham — was famously documented on the 1977 release \u003ca href=\"https://www.npr.org/sections/allsongs/2013/01/29/170552631/why-ive-never-liked-fleetwood-macs-rumours\">“Rumours,”\u003c/a> among the bestselling albums of all time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fleetwood Mac, co-founded by drummer Mick Fleetwood in 1967, was inducted into the Rock and Roll Hall of Fame in 1998. The group’s many other hit singles included “Dreams,” “Go Your Own Way” and “Little Lies.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fleetwood+Mac+singer-songwriter+Christine+McVie+dies+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922130/fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79","authors":["byline_arts_13922130"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_2836","arts_1091","arts_905"],"affiliates":["arts_10778"],"featImg":"arts_13922133","label":"arts_10778"},"arts_13919818":{"type":"posts","id":"arts_13919818","meta":{"index":"posts_1591205157","site":"arts","id":"13919818","score":null,"sort":[1664485642000]},"guestAuthors":[],"slug":"hua-hsus-stay-true-uc-berkeley-book-review","title":"Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon","publishDate":1664485642,"format":"audio","headTitle":"Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>What were the ’90s? I ask myself this question more and more lately. In the past month, I’ve watched \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7143108449130401066?is_copy_url=1&is_from_webapp=v1&item_id=7143108449130401066\" target=\"_blank\" rel=\"noopener noreferrer\">a reunited Pavement\u003c/a> amble through a set of slacker anthems, witnessed \u003ca href=\"https://www.nylon.com/fashion/grunge-90s-fashion-clothes\" target=\"_blank\" rel=\"noopener noreferrer\">high school fashion turn into grunge 2.0\u003c/a>, tried to ignore \u003ca href=\"https://pitchfork.com/features/lists-and-guides/the-best-albums-of-the-1990s/\" target=\"_blank\" rel=\"noopener noreferrer\">dumb internet lists\u003c/a> and endured daily questions about the decade from my 13-year-old daughter. “What was your favorite movie in the ’90s?” she asks me. “Was Weezer cool in the ’90s?” “Is this shirt ’90s?”\u003c/p>\n\u003cp>Movies, music and fashion are all part of the decade, sure. Less easy to recall, 30 years later, is what daily life was actually like, and how people felt most of the time.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"forum_2010101889960,forum_2010101882386\"]I devoured Hua Hsu’s \u003cem>Stay True\u003c/em> (Doubleday; $26) in one sitting, finding new answers to the question on every page. A memoir of Hua’s college years at UC Berkeley, \u003cem>Stay True\u003c/em> is primarily about his relationship with his best friend, Ken. Confident, loud and outgoing, Ken belongs to a frat, listens to the Dave Matthews Band and comes from a Japanese American family, “bright and optimistic in a way I found suspect.” In other words: mainstream.\u003c/p>\n\u003cp>Hua, meanwhile, is one of the millions whose outlook was changed by Nirvana. Philosophical, cynical and quiet, he nonetheless strikes up an odd friendship with Ken, who is genuinely curious in his clothes, music and books. The two grow close through smoke breaks and road trips, and stay up late together talking about life. (“We came up with brilliant theories,” Hua writes, “but forgot to write them down.”)\u003c/p>\n\u003cp>Suddenly, Ken is murdered in a senseless carjacking, and nothing is the same. Hua describes his grief: he leans on friends, blames himself, goes to therapy and saves nearly everything Ken left behind. Somehow, some way, he settles into acceptance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The details of this particular trauma are specific. But to the lingering question — what were the ’90s? — \u003cem>Stay True\u003c/em> also serves as an expertly pieced-together collage of life in Berkeley as a twentysomething in the Clinton years, a snapshot that will be immediately recognizable to readers who came of age in that decade. Part of this is achieved through simple markers, now out of date: the early internet of listservs, mall CD stores, fax machines. The book’s 173 pages are rife with obsolete objects, remembered from journals, clippings from his zine, and the many boxes of ephemera that he’s saved. (Hua is a \u003ca href=\"https://www.nytimes.com/2022/05/11/arts/music/popcast-collecting.html\" target=\"_blank\" rel=\"noopener noreferrer\">prolific caretaker of stuff\u003c/a>.)\u003c/p>\n\u003cp>The other part — the life that happens with the people close to you, around and between the stuff — is what Hua’s so good at capturing. It’s what’s in the faxes from his dad in Taiwan; what’s on the CDs from the mall and how his friends react to it all. \u003cem>Stay True\u003c/em> describes Berkeley institutions like Top Dog, Amoeba, the Daily Cal and Revolution Books; it also nails the experience of shopping at anglophile-indie record store Mod Lang, back when record stores were the only way to access new music, and clerks could afford to be haughty.\u003c/p>\n\u003cfigure id=\"attachment_13919839\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\" alt=\"a young Asian man's student ID against an orange backdrop\" width=\"635\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline-160x90.jpg 160w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hua Hsu’s UC Berkeley student ID. \u003ccite>(@huahsu/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part early in the book \u003ca href=\"https://www.newyorker.com/magazine/2022/08/22/my-dad-and-kurt-cobain\" target=\"_blank\" rel=\"noopener noreferrer\">describes life in 1980s Cupertino\u003c/a>, among the first wave of software engineers emigrating from Asia. Nostalgia is a curious driver of Hua’s work; he reassembles the past carefully, but not necessarily in the service of a rosy-eyed, things-used-to-be-better view. The Chinese immigrants who moved to the South Bay ten years later, Hua writes, “probably didn’t even know there was once only a single Asian grocer in the area, and it wasn’t even that good, and you had to drive a half hour to get there.”\u003c/p>\n\u003cp>Given the setting in Berkeley, political organizing plays a part in Hua’s life; Jesse Jackson speaks at Sproul Plaza, and Hua’s friends are excited, until three weeks later when he comes to speak again, and then later, again. Hua helps out at the Black Panthers’ storefront, protests the anti-affirmative action initiative Prop. 209, and eventually volunteers at a Richmond youth center and works with prisoners inside San Quentin.\u003c/p>\n\u003cp>What were the ’90s? Honestly, most of it was boredom. Just as important, it was you and your friends’ various ways to alleviate boredom. That’s why I never felt comfortable with the ’90s being known as the “slacker” generation. Hua is bored, but to stave off stagnancy, he is constantly active — he makes zines and mixtapes, gets involved in causes, writes ridiculous movie scripts, marches in protests, saves \u003ca href=\"https://byhuahsu.com/listings\" target=\"_blank\" rel=\"noopener noreferrer\">a lot of things\u003c/a> along the way. He does most of it with a close group of friends by his side.\u003c/p>\n\u003cp>That’s what makes Ken’s death so heartbreaking. What’s worse: boredom or loss? How do you fill the hole left by a dead friend the same way you once filled long stretches of empty time, together? By the end of the book, it becomes clear that Hua’s achievement is the not-so-simple act, 24 years later, of keeping his friend alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.penguinrandomhouse.com/books/688054/stay-true-by-hua-hsu/\">Stay True\u003c/a>’ is in stores now. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new memoir from the New Yorker staff writer resists easy nostalgia, presenting an honest snapshot of the decade through mixtapes, zines, boredom and grief.","status":"publish","parent":0,"modified":1705006320,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":913},"headData":{"title":"Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon | KQED","description":"A new memoir from the New Yorker staff writer resists easy nostalgia, presenting an honest snapshot of the decade through mixtapes, zines, boredom and grief.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon","datePublished":"2022-09-29T21:07:22.000Z","dateModified":"2024-01-11T20:52:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/a1b013c9-e1f3-41cf-aeb4-af400149084e/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13919818/hua-hsus-stay-true-uc-berkeley-book-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What were the ’90s? I ask myself this question more and more lately. In the past month, I’ve watched \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7143108449130401066?is_copy_url=1&is_from_webapp=v1&item_id=7143108449130401066\" target=\"_blank\" rel=\"noopener noreferrer\">a reunited Pavement\u003c/a> amble through a set of slacker anthems, witnessed \u003ca href=\"https://www.nylon.com/fashion/grunge-90s-fashion-clothes\" target=\"_blank\" rel=\"noopener noreferrer\">high school fashion turn into grunge 2.0\u003c/a>, tried to ignore \u003ca href=\"https://pitchfork.com/features/lists-and-guides/the-best-albums-of-the-1990s/\" target=\"_blank\" rel=\"noopener noreferrer\">dumb internet lists\u003c/a> and endured daily questions about the decade from my 13-year-old daughter. “What was your favorite movie in the ’90s?” she asks me. “Was Weezer cool in the ’90s?” “Is this shirt ’90s?”\u003c/p>\n\u003cp>Movies, music and fashion are all part of the decade, sure. Less easy to recall, 30 years later, is what daily life was actually like, and how people felt most of the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"forum_2010101889960,forum_2010101882386"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I devoured Hua Hsu’s \u003cem>Stay True\u003c/em> (Doubleday; $26) in one sitting, finding new answers to the question on every page. A memoir of Hua’s college years at UC Berkeley, \u003cem>Stay True\u003c/em> is primarily about his relationship with his best friend, Ken. Confident, loud and outgoing, Ken belongs to a frat, listens to the Dave Matthews Band and comes from a Japanese American family, “bright and optimistic in a way I found suspect.” In other words: mainstream.\u003c/p>\n\u003cp>Hua, meanwhile, is one of the millions whose outlook was changed by Nirvana. Philosophical, cynical and quiet, he nonetheless strikes up an odd friendship with Ken, who is genuinely curious in his clothes, music and books. The two grow close through smoke breaks and road trips, and stay up late together talking about life. (“We came up with brilliant theories,” Hua writes, “but forgot to write them down.”)\u003c/p>\n\u003cp>Suddenly, Ken is murdered in a senseless carjacking, and nothing is the same. Hua describes his grief: he leans on friends, blames himself, goes to therapy and saves nearly everything Ken left behind. Somehow, some way, he settles into acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The details of this particular trauma are specific. But to the lingering question — what were the ’90s? — \u003cem>Stay True\u003c/em> also serves as an expertly pieced-together collage of life in Berkeley as a twentysomething in the Clinton years, a snapshot that will be immediately recognizable to readers who came of age in that decade. Part of this is achieved through simple markers, now out of date: the early internet of listservs, mall CD stores, fax machines. The book’s 173 pages are rife with obsolete objects, remembered from journals, clippings from his zine, and the many boxes of ephemera that he’s saved. (Hua is a \u003ca href=\"https://www.nytimes.com/2022/05/11/arts/music/popcast-collecting.html\" target=\"_blank\" rel=\"noopener noreferrer\">prolific caretaker of stuff\u003c/a>.)\u003c/p>\n\u003cp>The other part — the life that happens with the people close to you, around and between the stuff — is what Hua’s so good at capturing. It’s what’s in the faxes from his dad in Taiwan; what’s on the CDs from the mall and how his friends react to it all. \u003cem>Stay True\u003c/em> describes Berkeley institutions like Top Dog, Amoeba, the Daily Cal and Revolution Books; it also nails the experience of shopping at anglophile-indie record store Mod Lang, back when record stores were the only way to access new music, and clerks could afford to be haughty.\u003c/p>\n\u003cfigure id=\"attachment_13919839\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\" alt=\"a young Asian man's student ID against an orange backdrop\" width=\"635\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline-160x90.jpg 160w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hua Hsu’s UC Berkeley student ID. \u003ccite>(@huahsu/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part early in the book \u003ca href=\"https://www.newyorker.com/magazine/2022/08/22/my-dad-and-kurt-cobain\" target=\"_blank\" rel=\"noopener noreferrer\">describes life in 1980s Cupertino\u003c/a>, among the first wave of software engineers emigrating from Asia. Nostalgia is a curious driver of Hua’s work; he reassembles the past carefully, but not necessarily in the service of a rosy-eyed, things-used-to-be-better view. The Chinese immigrants who moved to the South Bay ten years later, Hua writes, “probably didn’t even know there was once only a single Asian grocer in the area, and it wasn’t even that good, and you had to drive a half hour to get there.”\u003c/p>\n\u003cp>Given the setting in Berkeley, political organizing plays a part in Hua’s life; Jesse Jackson speaks at Sproul Plaza, and Hua’s friends are excited, until three weeks later when he comes to speak again, and then later, again. Hua helps out at the Black Panthers’ storefront, protests the anti-affirmative action initiative Prop. 209, and eventually volunteers at a Richmond youth center and works with prisoners inside San Quentin.\u003c/p>\n\u003cp>What were the ’90s? Honestly, most of it was boredom. Just as important, it was you and your friends’ various ways to alleviate boredom. That’s why I never felt comfortable with the ’90s being known as the “slacker” generation. Hua is bored, but to stave off stagnancy, he is constantly active — he makes zines and mixtapes, gets involved in causes, writes ridiculous movie scripts, marches in protests, saves \u003ca href=\"https://byhuahsu.com/listings\" target=\"_blank\" rel=\"noopener noreferrer\">a lot of things\u003c/a> along the way. He does most of it with a close group of friends by his side.\u003c/p>\n\u003cp>That’s what makes Ken’s death so heartbreaking. What’s worse: boredom or loss? How do you fill the hole left by a dead friend the same way you once filled long stretches of empty time, together? By the end of the book, it becomes clear that Hua’s achievement is the not-so-simple act, 24 years later, of keeping his friend alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.penguinrandomhouse.com/books/688054/stay-true-by-hua-hsu/\">Stay True\u003c/a>’ is in stores now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919818/hua-hsus-stay-true-uc-berkeley-book-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_1270","arts_928","arts_6902","arts_2836","arts_16105","arts_7970","arts_769","arts_905","arts_11460"],"featImg":"arts_13919828","label":"arts_140"},"arts_13886208":{"type":"posts","id":"arts_13886208","meta":{"index":"posts_1591205157","site":"arts","id":"13886208","score":null,"sort":[1599917114000]},"guestAuthors":[],"slug":"toots-hibbert-beloved-reggae-star-who-coined-the-term-dies-at-77","title":"Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77","publishDate":1599917114,"format":"standard","headTitle":"Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Toots Hibbert, one of reggae’s founders and most beloved stars who gave the music its name and later helped make it an international movement through such classics as “Pressure Drop,” “Monkey Man” and “Funky Kingston,” has died. He was 77.\u003c/p>\n\u003cp>Hibbert, frontman of Toots & the Maytals, had been in a medically-induced coma at a hospital in Kingston since earlier this month. He was admitted in intensive care after complaints of having breathing difficulties, according to his publicist. It was revealed in local media that the singer was awaiting results from a COVID-19 test after showing symptoms.\u003c/p>\n\u003cp>News of the five-time Grammy nominee’s ill-health came just weeks after his last known performance, on a national live-stream during Jamaica’s Emancipation and Independence celebrations in August.\u003c/p>\n\u003cp>A family statement said Hibbert died Friday at University Hospital of the West Indies in Kingston, Jamaica, surrounded by family.\u003c/p>\n\u003cp>Ziggy Marley, son of Bob Marley, tweeted about the death saying he spoke with Hibbert a few weeks ago and, “told him how much i loved him we laughed & shared our mutual respect,” adding, “He was a father figure to me.”\u003c/p>\n\u003cfigure id=\"attachment_13886210\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A muscular ex-boxer, Hibbert was a bandleader, songwriter, multi-instrumentalist and showman whose concerts sometimes ended with dozens of audience members dancing with him on stage. He was also, in the opinion of many, reggae’s greatest singer, so deeply spiritual he could transform “Do re mi fa so la ti do” into a hymn. His raspy tenor, uncommonly warm and rough, was likened to the voice of Otis Redding and made him more accessible to American listeners than many reggae artists. Original songs such as “Funky Kingston” and “54-46 That’s My Number” had the emotion and call and response arrangements known to soul and gospel fans. Hibbert even recorded an album of American hits, \u003cem>Toots In Memphis\u003c/em>, which came out in 1988.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Never as immersed in politics as his friend and great contemporary Bob Marley, Hibbert did invoke heavenly justice in “Pressure Drop,” preach peace in “Revolution,” righteousness in “Bam Bam” and scorn his 1960s drug arrest and imprisonment in “54-46 That’s My Number.” He also captured, like few others, everyday life in Jamaica in the years following its independence from Britain in 1962, whether telling of wedding jitters (“Sweet and Dandy”) or of trying to pay the rent (“Time Tough”). One of his most popular and surprising songs was his reworking of John Denver’s nostalgic “(Take Me Home) Country Roads,” with the setting changed from West Virginia to a world Hibbert knew so well.\u003c/p>\n\u003cblockquote>\u003cp>Almost heaven, West Jamaica\u003cbr>\nTrue ridge mountains\u003cbr>\nShining down the river\u003cbr>\nAll my friends there\u003cbr>\nOlder than those ridge\u003cbr>\nYounger than the mountains\u003cbr>\nBlowin’ like a breeze\u003c/p>\u003c/blockquote>\n\u003cp>The Maytals began when ska was the most popular music on the island, continued to rise during the transition to the slowed down rocksteady and were at the very forefront of the faster, more danceable sound of the late ’60s. Their uptempo chant “Do the Reggay” is widely recognized as the song which gave reggae its name, even if the honor was unintended.\u003c/p>\n\u003cp>“If a girl didn’t look so nice or she wasn’t dressed properly, we used to say she was streggay. I was playing one day and I don’t know why but I started singing: ‘Do the reggay, do the reggay’ — it just stuck,” he told the Daily Star in 2012. “I might have stuck with calling it streggay if I’d thought longer. That’d be something — everyone dancing to streggay music.”\u003c/p>\n\u003cfigure id=\"attachment_13886212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/TootsAlbums.jpg\" alt=\"Early moments for Toots and the Maytals' popularity included the albums 'Funky Kingston' (L) and the soundtrack to 'The Harder They Come' (R).\" width=\"1920\" height=\"932\" class=\"size-full wp-image-13886212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1020x495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1536x746.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Early moments for Toots and the Maytals’ popularity included the albums ‘Funky Kingston’ (L) and the soundtrack to ‘The Harder They Come’ (R). \u003ccite>(Mango Records / Island Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with other reggae stars, Hibbert’s following soared after the release of the landmark 1972 film \u003cem>The Harder They Come\u003c/em>, which starred Jimmy Cliff as a poor Jamaican who moves to Kingston and dreams of a career in music. The Jamaican production was a word of mouth hit in the U.S. and the soundtrack, often ranked among the greatest in movie history, included the Maytals’ “Pressure Drop” and “Sweet and Dandy.” Hibbert also appeared in the film, as himself, recording “Sweet and Dandy” in the studio while Cliff’s character looks on with awe. Around the same time, the Maytals signed with Island Records and released the acclaimed album \u003cem>Funky Kingston\u003c/em>, which the critic Lester Bangs called “the most exciting and diversified set of reggae tunes by a single artist yet released.” (The album would eventually come out in two different versions).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RA4R-WoM10A\u003c/p>\n\u003cp>By the mid-1970s, Keith Richards, John Lennon, Eric Clapton and countless other rock stars had become reggae fans and Hibbert would eventually record with some of them. A tribute album from 2004, the Grammy winning \u003cem>True Love\u003c/em>, included cameos by Richards, Bonnie Raitt, Ryan Adams and Jeff Beck. Hibbert also was the subject of a 2011 BBC documentary, \u003cem>Reggae Got Soul\u003c/em>, with Clapton, Richards and Willie Nelson among the commentators.\u003c/p>\n\u003cp>The Maytals originally were a vocal trio featuring Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias, with the group later adding such instrumentalists as bassist Jackie Jackson and drummer Paul Douglas. They broke up in the early 1980s, but the following decade Hibbert began working with a new lineup of Maytals.\u003c/p>\n\u003cp>Hibbert’s career was halted in 2013 after he sustained a head injury from a vodka bottle thrown during a concert in Richmond, Virginia, and suffered from headaches and depression. But by the end of the decade he was performing again and in 2020 he released another album, \u003cem>Got To Be Tough\u003c/em>, which included contributions from Ziggy Marley and Ringo Starr, whose son, Zak Starkey, served as co-producer.\u003c/p>\n\u003cfigure id=\"attachment_13886211\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots3.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grammy nominations for Hibbert included best reggae album of 2012 for \u003cem>Reggae Got Soul\u003c/em> and best reggae album of 2007 for \u003cem>Light Your Light\u003c/em>. Hibbert was ranked No. 71 on a Rolling Stone list, compiled in 2008, of the 100 greatest contemporary singers. In 2012, he received the Order of Distinction by the government of Jamaica for outstanding contribution to the country’s music.\u003c/p>\n\u003cp>Married to his wife, Doreen, for nearly 40 years, Hibbert had eight children, including the reggae performers Junior Hibbert and Leba Hibbert.\u003c/p>\n\u003cp>Frederick Nathaniel Hibbert (“Toots” was a childhood nickname) was born in May Pen, Parish of Clarendon. He was the son of Seventh-day Adventist ministers and would remember miles-long walks along dirt roads to schools, hours of singing in church and private moments listening to such American stars on the radio as Ray Charles and Elvis Presley.\u003c/p>\n\u003cp>By adolescence, his parents had died and he had moved to Trench Town in Kingston, where the local music scene was thriving, moving from street parties to recording studios and drawing such future stars as Bob Marley and Desmond Dekker. He formed the Maytals, named for his hometown, with fellow singers Matthias and Gordon, started working with Jamaican record producer Coxsone Dodd and quickly became the star of the national festival competition that started in 1966. The Maytals (eventually renamed Toots & the Maytals) won in the inaugural year with “Bam Bam,” prevailed in 1969 with “Sweet and Dandy” and 1972 with “Pomp and Pride.” Hibbert would joke that he thought it best to start skipping the festival because winning came so easily, although he returned in 2020 with the bright, inspirational “Rise Up Jamaica.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sharlene Hendricks contributed from Jamaica.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With his group the Maytals, Toots wrote all-time classics such as 'Pressure Drop' and 'Funky Kingston.'","status":"publish","parent":0,"modified":1705020146,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1379},"headData":{"title":"Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77 | KQED","description":"With his group the Maytals, Toots wrote all-time classics such as 'Pressure Drop' and 'Funky Kingston.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77","datePublished":"2020-09-12T13:25:14.000Z","dateModified":"2024-01-12T00:42:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Hillel Italie, Associated Press","templateType":"standard","featuredImageType":"standard","path":"/arts/13886208/toots-hibbert-beloved-reggae-star-who-coined-the-term-dies-at-77","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toots Hibbert, one of reggae’s founders and most beloved stars who gave the music its name and later helped make it an international movement through such classics as “Pressure Drop,” “Monkey Man” and “Funky Kingston,” has died. He was 77.\u003c/p>\n\u003cp>Hibbert, frontman of Toots & the Maytals, had been in a medically-induced coma at a hospital in Kingston since earlier this month. He was admitted in intensive care after complaints of having breathing difficulties, according to his publicist. It was revealed in local media that the singer was awaiting results from a COVID-19 test after showing symptoms.\u003c/p>\n\u003cp>News of the five-time Grammy nominee’s ill-health came just weeks after his last known performance, on a national live-stream during Jamaica’s Emancipation and Independence celebrations in August.\u003c/p>\n\u003cp>A family statement said Hibbert died Friday at University Hospital of the West Indies in Kingston, Jamaica, surrounded by family.\u003c/p>\n\u003cp>Ziggy Marley, son of Bob Marley, tweeted about the death saying he spoke with Hibbert a few weeks ago and, “told him how much i loved him we laughed & shared our mutual respect,” adding, “He was a father figure to me.”\u003c/p>\n\u003cfigure id=\"attachment_13886210\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A muscular ex-boxer, Hibbert was a bandleader, songwriter, multi-instrumentalist and showman whose concerts sometimes ended with dozens of audience members dancing with him on stage. He was also, in the opinion of many, reggae’s greatest singer, so deeply spiritual he could transform “Do re mi fa so la ti do” into a hymn. His raspy tenor, uncommonly warm and rough, was likened to the voice of Otis Redding and made him more accessible to American listeners than many reggae artists. Original songs such as “Funky Kingston” and “54-46 That’s My Number” had the emotion and call and response arrangements known to soul and gospel fans. Hibbert even recorded an album of American hits, \u003cem>Toots In Memphis\u003c/em>, which came out in 1988.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Never as immersed in politics as his friend and great contemporary Bob Marley, Hibbert did invoke heavenly justice in “Pressure Drop,” preach peace in “Revolution,” righteousness in “Bam Bam” and scorn his 1960s drug arrest and imprisonment in “54-46 That’s My Number.” He also captured, like few others, everyday life in Jamaica in the years following its independence from Britain in 1962, whether telling of wedding jitters (“Sweet and Dandy”) or of trying to pay the rent (“Time Tough”). One of his most popular and surprising songs was his reworking of John Denver’s nostalgic “(Take Me Home) Country Roads,” with the setting changed from West Virginia to a world Hibbert knew so well.\u003c/p>\n\u003cblockquote>\u003cp>Almost heaven, West Jamaica\u003cbr>\nTrue ridge mountains\u003cbr>\nShining down the river\u003cbr>\nAll my friends there\u003cbr>\nOlder than those ridge\u003cbr>\nYounger than the mountains\u003cbr>\nBlowin’ like a breeze\u003c/p>\u003c/blockquote>\n\u003cp>The Maytals began when ska was the most popular music on the island, continued to rise during the transition to the slowed down rocksteady and were at the very forefront of the faster, more danceable sound of the late ’60s. Their uptempo chant “Do the Reggay” is widely recognized as the song which gave reggae its name, even if the honor was unintended.\u003c/p>\n\u003cp>“If a girl didn’t look so nice or she wasn’t dressed properly, we used to say she was streggay. I was playing one day and I don’t know why but I started singing: ‘Do the reggay, do the reggay’ — it just stuck,” he told the Daily Star in 2012. “I might have stuck with calling it streggay if I’d thought longer. That’d be something — everyone dancing to streggay music.”\u003c/p>\n\u003cfigure id=\"attachment_13886212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/TootsAlbums.jpg\" alt=\"Early moments for Toots and the Maytals' popularity included the albums 'Funky Kingston' (L) and the soundtrack to 'The Harder They Come' (R).\" width=\"1920\" height=\"932\" class=\"size-full wp-image-13886212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1020x495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1536x746.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Early moments for Toots and the Maytals’ popularity included the albums ‘Funky Kingston’ (L) and the soundtrack to ‘The Harder They Come’ (R). \u003ccite>(Mango Records / Island Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with other reggae stars, Hibbert’s following soared after the release of the landmark 1972 film \u003cem>The Harder They Come\u003c/em>, which starred Jimmy Cliff as a poor Jamaican who moves to Kingston and dreams of a career in music. The Jamaican production was a word of mouth hit in the U.S. and the soundtrack, often ranked among the greatest in movie history, included the Maytals’ “Pressure Drop” and “Sweet and Dandy.” Hibbert also appeared in the film, as himself, recording “Sweet and Dandy” in the studio while Cliff’s character looks on with awe. Around the same time, the Maytals signed with Island Records and released the acclaimed album \u003cem>Funky Kingston\u003c/em>, which the critic Lester Bangs called “the most exciting and diversified set of reggae tunes by a single artist yet released.” (The album would eventually come out in two different versions).\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/RA4R-WoM10A'\n title='//www.youtube.com/embed/RA4R-WoM10A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the mid-1970s, Keith Richards, John Lennon, Eric Clapton and countless other rock stars had become reggae fans and Hibbert would eventually record with some of them. A tribute album from 2004, the Grammy winning \u003cem>True Love\u003c/em>, included cameos by Richards, Bonnie Raitt, Ryan Adams and Jeff Beck. Hibbert also was the subject of a 2011 BBC documentary, \u003cem>Reggae Got Soul\u003c/em>, with Clapton, Richards and Willie Nelson among the commentators.\u003c/p>\n\u003cp>The Maytals originally were a vocal trio featuring Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias, with the group later adding such instrumentalists as bassist Jackie Jackson and drummer Paul Douglas. They broke up in the early 1980s, but the following decade Hibbert began working with a new lineup of Maytals.\u003c/p>\n\u003cp>Hibbert’s career was halted in 2013 after he sustained a head injury from a vodka bottle thrown during a concert in Richmond, Virginia, and suffered from headaches and depression. But by the end of the decade he was performing again and in 2020 he released another album, \u003cem>Got To Be Tough\u003c/em>, which included contributions from Ziggy Marley and Ringo Starr, whose son, Zak Starkey, served as co-producer.\u003c/p>\n\u003cfigure id=\"attachment_13886211\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots3.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grammy nominations for Hibbert included best reggae album of 2012 for \u003cem>Reggae Got Soul\u003c/em> and best reggae album of 2007 for \u003cem>Light Your Light\u003c/em>. Hibbert was ranked No. 71 on a Rolling Stone list, compiled in 2008, of the 100 greatest contemporary singers. In 2012, he received the Order of Distinction by the government of Jamaica for outstanding contribution to the country’s music.\u003c/p>\n\u003cp>Married to his wife, Doreen, for nearly 40 years, Hibbert had eight children, including the reggae performers Junior Hibbert and Leba Hibbert.\u003c/p>\n\u003cp>Frederick Nathaniel Hibbert (“Toots” was a childhood nickname) was born in May Pen, Parish of Clarendon. He was the son of Seventh-day Adventist ministers and would remember miles-long walks along dirt roads to schools, hours of singing in church and private moments listening to such American stars on the radio as Ray Charles and Elvis Presley.\u003c/p>\n\u003cp>By adolescence, his parents had died and he had moved to Trench Town in Kingston, where the local music scene was thriving, moving from street parties to recording studios and drawing such future stars as Bob Marley and Desmond Dekker. He formed the Maytals, named for his hometown, with fellow singers Matthias and Gordon, started working with Jamaican record producer Coxsone Dodd and quickly became the star of the national festival competition that started in 1966. The Maytals (eventually renamed Toots & the Maytals) won in the inaugural year with “Bam Bam,” prevailed in 1969 with “Sweet and Dandy” and 1972 with “Pomp and Pride.” Hibbert would joke that he thought it best to start skipping the festival because winning came so easily, although he returned in 2020 with the bright, inspirational “Rise Up Jamaica.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sharlene Hendricks contributed from Jamaica.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886208/toots-hibbert-beloved-reggae-star-who-coined-the-term-dies-at-77","authors":["byline_arts_13886208"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_2836","arts_10278","arts_1091"],"featImg":"arts_13886209","label":"arts"},"arts_13885592":{"type":"posts","id":"arts_13885592","meta":{"index":"posts_1591205157","site":"arts","id":"13885592","score":null,"sort":[1599089620000]},"guestAuthors":[],"slug":"death-is-all-around-in-2020-what-can-we-do","title":"Death is All Around in 2020. What Can We Do?","publishDate":1599089620,"format":"standard","headTitle":"Death is All Around in 2020. What Can We Do? | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the house for a midday Saturday photo shoot. Late. Damn. Forgot my wallet. Double damn. Then, I noticed my passenger side tire was low on air. Slow leak? I didn’t know, and I wasn’t risking it. It was a sign: stay home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On average, 38,000 people in America die in car crashes each year. And the way 2020 has played out, with souls getting yanked from this big spinning rock at an alarming rate, I’m not risking anything.\u003c/p>\n\u003cp>This year, I’ve lost loved ones, and loved ones of loved ones. I’ve publicly mourned the passing of people I’ve never met—celebrities—but I celebrate their craft, and therefore celebrate their lives. And I’ve consumed far too much news about people, many of whom look like me, being killed by law enforcement.\u003c/p>\n\u003cp>Every time I pick up my phone, someone new has died. It’s not an exaggerated feeling. A \u003cem>lot\u003c/em> of people are dying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even if you exclude the \u003ca href=\"https://www.cnbc.com/2020/09/01/fauci-debunks-theories-of-low-cdc-coronavirus-death-toll-there-are-180000-plus-deaths-in-us.html\" target=\"_blank\" rel=\"noopener noreferrer\">over 180,000 people\u003c/a> in the US who’ve died of COVID thus far, this year has still had more excess deaths than normal. Excess deaths, or “excess mortality,” describes the number of people dying beyond what’s been predicted.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.marketwatch.com/story/the-excess-deaths-tally-in-the-us-is-204691-in-7-months-so-covid-19-deaths-might-be-undercounted-2020-08-13\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> from last month, Ronald D. Fricker Jr. noted the amount of actual deaths was at least 164,937 deaths above the expected count during the period of January 2020 through the start of August. Fricker, an Associate Dean of Virginia Tech College of Science, explained that if you were to subtract the deaths tagged as COVID-19-related, it still leaves over 16,000 deaths above the norm. In explaining the cause of those 16,000 deaths, Fricker writes, “COVID-19 deaths could be being undercounted, or the pandemic could also be causing increases in other types of death. It’s probably some of both.”\u003c/p>\n\u003cp>No matter the cause, clear across the board, the \u003ca href=\"https://www.cdc.gov/nchs/nvss/vsrr/covid19/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">CDC is reporting\u003c/a> a higher number of deaths this year than usual.\u003c/p>\n\u003cp>https://twitter.com/mrbrownsir/status/1299189751036215297\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he numbers are more than numbers. They’re a point of entry into understanding the mind-state that comes with not being able to mourn a death properly and fully before hearing word of another death. A drowning of a college friend followed that same week by the homicide of another. The unexpected passing of a friend’s father—the same friend who taught me about aspects of fatherhood. All of a sudden, for me, death seems ever-present.\u003c/p>\n\u003cp>The work of being a journalist doesn’t help the cause. Tragic deaths are a normal part of the news cycle; you’re not \u003cem>supposed\u003c/em> to be personally impacted.\u003c/p>\n\u003cp>But then came the death of Chadwick Boseman, and it wasn’t just about \u003cem>Black Panther\u003c/em>. Here’s a guy who graduated from the \u003ca href=\"https://bcnn1wp.wordpress.com/2018/05/02/black-panthers-chadwick-boseman-to-deliver-2018-commencement-address-at-his-alma-mater-howard-university/\" target=\"_blank\" rel=\"noopener noreferrer\">same institution of higher learning\u003c/a> I did, and went on to tell stories of Black folks, like I do. As a Black male artist, I felt him. Not that I was looking for role models or anything, but I’ll admit now that \u003ca href=\"https://www.huffpost.com/entry/42-review-jackie-robinson_b_3024551\" target=\"_blank\" rel=\"noopener noreferrer\">after being assigned to review \u003cem>42\u003c/em>\u003c/a>, the biopic of Jackie Robinson, I was compelled to take a movie poster home from the Jack London Square movie theatre lobby.\u003c/p>\n\u003cfigure id=\"attachment_13885682\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funeral.Flowers.jpg\" alt=\"Terrence Bardney of Leak and Sons' Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois.\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Terrence Bardney of Leak and Sons’ Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea of identifying with people who die is terrifying. That’s why the filmed shootings of Black people—men, women, trans or other—make me feel like a portion of myself has died, or will die soon.\u003c/p>\n\u003cp>It’s the sensation of impending doom, like the sword of Damocles is constantly suspended over my dome; I think about death every time I leave home. So this weekend I stayed at the crib.\u003c/p>\n\u003cp>Still, despite taking a bath to relax, I found myself gravitating toward the subject of death. I listened to the “Eulogy” clip from Richard Pryor’s “ … Is It Something I Said?” 1975 standup. I slapped Tupac’s “Death Around the Corner.” Re-read the circumstances around Lisa “Left Eye” Lopes’ death. Looked back at stories from 2006, the year Oakland had over 145 homicides—that was the first time I rationally felt the sensation of impending doom.\u003c/p>\n\u003cp>https://twitter.com/OGpenn/status/1299543808992968705\u003c/p>\n\u003cp>And I asked parent-Twitter if they had made it through this year without crying in front of their kids. The underlying notion being: crying is often the manifestation of the sadness that comes with the mourning process; and maybe even connected to further acknowledgement of your own mortality—which is a hard discussion when you’re looking in the face of your offspring.\u003c/p>\n\u003cp>I got hella responses to my somewhat rhetorical question. Just about every answer was “no.” People without kids said they teared up in front of their pets. Some folks said they cried for the first time last week.\u003c/p>\n\u003cp>But overall, a lot of people openly acknowledged being sad. And with deaths in this country through the roof, I’d be a fool to think I’m the only one grieving.\u003c/p>\n\u003cfigure id=\"attachment_13885684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg\" alt=\"Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama.\" width=\"1024\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-768x504.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama. \u003ccite>(Jessica McGowan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> needed some advice from a pro on this topic. Enter Angela Hennessy, \u003ca href=\"https://www.instagram.com/thehouseofhennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">a visual artist\u003c/a> and \u003ca href=\"https://portal.cca.edu/people/ahennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">associate professor\u003c/a> at California College of the Arts, where she teaches classes on “cultural narratives of death and contemporary art.” When asked how she identifies herself, Hennessy says, “I’m a survivor.”\u003c/p>\n\u003cp>In 2015 Hennessy was shot in the midst of trying to stop an assault. She tells me she’s been thinking about her own mortality ever since.\u003c/p>\n\u003cp>“Being aware of one’s mortality, and to let that impact the decisions we make on the day-to-day basis, that’s normal,” says Hennessy. “That knowledge has an impact on how you look into a loved one’s eyes.”\u003c/p>\n\u003cfigure id=\"attachment_13885702\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHennessy.jpg\" alt=\"Angela Hennessy's work is informed by a deep understanding of mortality.\" width=\"320\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy-160x200.jpg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy’s work is informed by a deep understanding of mortality. \u003ccite>(Instagram/Angela Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy says that people on their deathbed don’t question if they did “all the work” they were supposed to; they question if they loved, and if they were loved. “Death has a way of resetting priorities,” says Hennessy, lightening the tone of the conversation.\u003c/p>\n\u003cp>So are we, collectively, having a massive resetting of priorities right now?\u003c/p>\n\u003cp>Given this year’s public response to the systematic and individualized disregard for the lives of humans who are different than those who’ve traditionally held power in this land called America, it’s clear something is changing.\u003c/p>\n\u003cp>A metaphorical death, of sorts. And a new beginning? I hope so, and Hennessy somewhat agrees. But she notes that it leaves the question: if we’re living at a time when there is great transition, be it social change or people individually changing en masse, what’s our responsibility?\u003c/p>\n\u003cp>“That’s what I’m asking myself all the time,” says Hennessy, noting that in effort to find the answer, she often turns to rituals, altars and verbally acknowledging those who’ve passed.\u003c/p>\n\u003cp>“Death is everywhere, all the time. But we’ve got to \u003cem>see\u003c/em> it,” says Hennessy. She uses the lifecycle of plants to exemplify the presence of death. At the same time, plants show us the presence of life as well. And that aids her understanding of how to proceed in this world. Hennessy says, “That’s why I choose the color palettes I do—to engage with my ancestors. To let them know I’m here.” She tells me, “Some people run towards death, some people run away from it.”\u003c/p>\n\u003cfigure id=\"attachment_13885687\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg\" alt=\"Anglea Henessy, 'Mourning Wreath,' (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base.\" width=\"1024\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-768x528.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Anglea Henessy, ‘Mourning Wreath,’ (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base. \u003ccite>(Courtesy Angela Henessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Death is a part of life. That’s not a new concept to me, but it’s maybe something I’d forgotten because of the overwhelming amount of deaths in my circle this year. But I know balance exists in this universe.\u003c/p>\n\u003cp>Evidence isn’t just in Angela’s comments. It’s in the \u003ca href=\"https://population.un.org/wpp/Publications/Files/WPP2019_Highlights.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report from the CDC\u003c/a> that even with the high number of deaths in the United States this year, the amount of babies born will be greater than the number of people who pass. And that trend is expected to continue for some years to come.\u003c/p>\n\u003cp>It’s comforting to know the cycle of life is doing as it should. It’s reminiscent of that scene in \u003cem>Black Panther\u003c/em>, when King T’Chaka spoke to his son King T’Challa from the afterlife:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“A man who has not prepared his child for his own death has failed as a father. Have I ever failed you?”\u003c/p>\n\n","blocks":[],"excerpt":"Bearing the weight of 2020's 'excess deaths,' beyond the 180,000 dead from COVID-19, can be overwhelming.","status":"publish","parent":0,"modified":1705020191,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1609},"headData":{"title":"Death is All Around in 2020. What Can We Do? | KQED","description":"Bearing the weight of 2020's 'excess deaths,' beyond the 180,000 dead from COVID-19, can be overwhelming.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Death is All Around in 2020. What Can We Do?","datePublished":"2020-09-02T23:33:40.000Z","dateModified":"2024-01-12T00:43:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary","sourceUrl":"https://www.kqed.org/arts/category/commentary","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13885592/death-is-all-around-in-2020-what-can-we-do","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the house for a midday Saturday photo shoot. Late. Damn. Forgot my wallet. Double damn. Then, I noticed my passenger side tire was low on air. Slow leak? I didn’t know, and I wasn’t risking it. It was a sign: stay home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On average, 38,000 people in America die in car crashes each year. And the way 2020 has played out, with souls getting yanked from this big spinning rock at an alarming rate, I’m not risking anything.\u003c/p>\n\u003cp>This year, I’ve lost loved ones, and loved ones of loved ones. I’ve publicly mourned the passing of people I’ve never met—celebrities—but I celebrate their craft, and therefore celebrate their lives. And I’ve consumed far too much news about people, many of whom look like me, being killed by law enforcement.\u003c/p>\n\u003cp>Every time I pick up my phone, someone new has died. It’s not an exaggerated feeling. A \u003cem>lot\u003c/em> of people are dying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even if you exclude the \u003ca href=\"https://www.cnbc.com/2020/09/01/fauci-debunks-theories-of-low-cdc-coronavirus-death-toll-there-are-180000-plus-deaths-in-us.html\" target=\"_blank\" rel=\"noopener noreferrer\">over 180,000 people\u003c/a> in the US who’ve died of COVID thus far, this year has still had more excess deaths than normal. Excess deaths, or “excess mortality,” describes the number of people dying beyond what’s been predicted.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.marketwatch.com/story/the-excess-deaths-tally-in-the-us-is-204691-in-7-months-so-covid-19-deaths-might-be-undercounted-2020-08-13\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> from last month, Ronald D. Fricker Jr. noted the amount of actual deaths was at least 164,937 deaths above the expected count during the period of January 2020 through the start of August. Fricker, an Associate Dean of Virginia Tech College of Science, explained that if you were to subtract the deaths tagged as COVID-19-related, it still leaves over 16,000 deaths above the norm. In explaining the cause of those 16,000 deaths, Fricker writes, “COVID-19 deaths could be being undercounted, or the pandemic could also be causing increases in other types of death. It’s probably some of both.”\u003c/p>\n\u003cp>No matter the cause, clear across the board, the \u003ca href=\"https://www.cdc.gov/nchs/nvss/vsrr/covid19/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">CDC is reporting\u003c/a> a higher number of deaths this year than usual.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1299189751036215297"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he numbers are more than numbers. They’re a point of entry into understanding the mind-state that comes with not being able to mourn a death properly and fully before hearing word of another death. A drowning of a college friend followed that same week by the homicide of another. The unexpected passing of a friend’s father—the same friend who taught me about aspects of fatherhood. All of a sudden, for me, death seems ever-present.\u003c/p>\n\u003cp>The work of being a journalist doesn’t help the cause. Tragic deaths are a normal part of the news cycle; you’re not \u003cem>supposed\u003c/em> to be personally impacted.\u003c/p>\n\u003cp>But then came the death of Chadwick Boseman, and it wasn’t just about \u003cem>Black Panther\u003c/em>. Here’s a guy who graduated from the \u003ca href=\"https://bcnn1wp.wordpress.com/2018/05/02/black-panthers-chadwick-boseman-to-deliver-2018-commencement-address-at-his-alma-mater-howard-university/\" target=\"_blank\" rel=\"noopener noreferrer\">same institution of higher learning\u003c/a> I did, and went on to tell stories of Black folks, like I do. As a Black male artist, I felt him. Not that I was looking for role models or anything, but I’ll admit now that \u003ca href=\"https://www.huffpost.com/entry/42-review-jackie-robinson_b_3024551\" target=\"_blank\" rel=\"noopener noreferrer\">after being assigned to review \u003cem>42\u003c/em>\u003c/a>, the biopic of Jackie Robinson, I was compelled to take a movie poster home from the Jack London Square movie theatre lobby.\u003c/p>\n\u003cfigure id=\"attachment_13885682\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funeral.Flowers.jpg\" alt=\"Terrence Bardney of Leak and Sons' Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois.\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Terrence Bardney of Leak and Sons’ Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea of identifying with people who die is terrifying. That’s why the filmed shootings of Black people—men, women, trans or other—make me feel like a portion of myself has died, or will die soon.\u003c/p>\n\u003cp>It’s the sensation of impending doom, like the sword of Damocles is constantly suspended over my dome; I think about death every time I leave home. So this weekend I stayed at the crib.\u003c/p>\n\u003cp>Still, despite taking a bath to relax, I found myself gravitating toward the subject of death. I listened to the “Eulogy” clip from Richard Pryor’s “ … Is It Something I Said?” 1975 standup. I slapped Tupac’s “Death Around the Corner.” Re-read the circumstances around Lisa “Left Eye” Lopes’ death. Looked back at stories from 2006, the year Oakland had over 145 homicides—that was the first time I rationally felt the sensation of impending doom.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1299543808992968705"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And I asked parent-Twitter if they had made it through this year without crying in front of their kids. The underlying notion being: crying is often the manifestation of the sadness that comes with the mourning process; and maybe even connected to further acknowledgement of your own mortality—which is a hard discussion when you’re looking in the face of your offspring.\u003c/p>\n\u003cp>I got hella responses to my somewhat rhetorical question. Just about every answer was “no.” People without kids said they teared up in front of their pets. Some folks said they cried for the first time last week.\u003c/p>\n\u003cp>But overall, a lot of people openly acknowledged being sad. And with deaths in this country through the roof, I’d be a fool to think I’m the only one grieving.\u003c/p>\n\u003cfigure id=\"attachment_13885684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg\" alt=\"Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama.\" width=\"1024\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-768x504.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama. \u003ccite>(Jessica McGowan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> needed some advice from a pro on this topic. Enter Angela Hennessy, \u003ca href=\"https://www.instagram.com/thehouseofhennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">a visual artist\u003c/a> and \u003ca href=\"https://portal.cca.edu/people/ahennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">associate professor\u003c/a> at California College of the Arts, where she teaches classes on “cultural narratives of death and contemporary art.” When asked how she identifies herself, Hennessy says, “I’m a survivor.”\u003c/p>\n\u003cp>In 2015 Hennessy was shot in the midst of trying to stop an assault. She tells me she’s been thinking about her own mortality ever since.\u003c/p>\n\u003cp>“Being aware of one’s mortality, and to let that impact the decisions we make on the day-to-day basis, that’s normal,” says Hennessy. “That knowledge has an impact on how you look into a loved one’s eyes.”\u003c/p>\n\u003cfigure id=\"attachment_13885702\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHennessy.jpg\" alt=\"Angela Hennessy's work is informed by a deep understanding of mortality.\" width=\"320\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy-160x200.jpg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy’s work is informed by a deep understanding of mortality. \u003ccite>(Instagram/Angela Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy says that people on their deathbed don’t question if they did “all the work” they were supposed to; they question if they loved, and if they were loved. “Death has a way of resetting priorities,” says Hennessy, lightening the tone of the conversation.\u003c/p>\n\u003cp>So are we, collectively, having a massive resetting of priorities right now?\u003c/p>\n\u003cp>Given this year’s public response to the systematic and individualized disregard for the lives of humans who are different than those who’ve traditionally held power in this land called America, it’s clear something is changing.\u003c/p>\n\u003cp>A metaphorical death, of sorts. And a new beginning? I hope so, and Hennessy somewhat agrees. But she notes that it leaves the question: if we’re living at a time when there is great transition, be it social change or people individually changing en masse, what’s our responsibility?\u003c/p>\n\u003cp>“That’s what I’m asking myself all the time,” says Hennessy, noting that in effort to find the answer, she often turns to rituals, altars and verbally acknowledging those who’ve passed.\u003c/p>\n\u003cp>“Death is everywhere, all the time. But we’ve got to \u003cem>see\u003c/em> it,” says Hennessy. She uses the lifecycle of plants to exemplify the presence of death. At the same time, plants show us the presence of life as well. And that aids her understanding of how to proceed in this world. Hennessy says, “That’s why I choose the color palettes I do—to engage with my ancestors. To let them know I’m here.” She tells me, “Some people run towards death, some people run away from it.”\u003c/p>\n\u003cfigure id=\"attachment_13885687\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg\" alt=\"Anglea Henessy, 'Mourning Wreath,' (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base.\" width=\"1024\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-768x528.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Anglea Henessy, ‘Mourning Wreath,’ (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base. \u003ccite>(Courtesy Angela Henessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Death is a part of life. That’s not a new concept to me, but it’s maybe something I’d forgotten because of the overwhelming amount of deaths in my circle this year. But I know balance exists in this universe.\u003c/p>\n\u003cp>Evidence isn’t just in Angela’s comments. It’s in the \u003ca href=\"https://population.un.org/wpp/Publications/Files/WPP2019_Highlights.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report from the CDC\u003c/a> that even with the high number of deaths in the United States this year, the amount of babies born will be greater than the number of people who pass. And that trend is expected to continue for some years to come.\u003c/p>\n\u003cp>It’s comforting to know the cycle of life is doing as it should. It’s reminiscent of that scene in \u003cem>Black Panther\u003c/em>, when King T’Chaka spoke to his son King T’Challa from the afterlife:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A man who has not prepared his child for his own death has failed as a father. Have I ever failed you?”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885592/death-is-all-around-in-2020-what-can-we-do","authors":["11491"],"categories":["arts_1","arts_2303","arts_835","arts_74","arts_1564"],"tags":["arts_11327","arts_2767","arts_10126","arts_2836","arts_10278","arts_2837","arts_901"],"featImg":"arts_13885683","label":"source_arts_13885592"},"arts_13841445":{"type":"posts","id":"arts_13841445","meta":{"index":"posts_1591205157","site":"arts","id":"13841445","score":null,"sort":[1537833632000]},"guestAuthors":[],"slug":"the-four-words-nobody-likes-to-hear-youre-going-to-die","title":"The Four Words Nobody Likes to Hear: You're Going to Die","publishDate":1537833632,"format":"standard","headTitle":"The Four Words Nobody Likes to Hear: You’re Going to Die | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>bout two months ago, seated on a small airplane that was descending through a lightning storm on its way to land in Florence, Italy, I was 90 percent certain I was going to die.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My terror only lasted about 10 minutes—from the moment I saw the first flash in the dark outside the tiny window, through a half-dozen weightless-feeling, heart-stopping lurches, until the wheels touched down on the runway.\u003c/p>\n\u003cp>Which is to say, it was nothing compared to what the residents of Hawaii felt earlier this year when one click of the wrong button at a local government office sent warning of an imminent ballistic missile in an all-caps text message to everyone within state limits.\u003c/p>\n\u003cp>The mistake went uncorrected for 38 minutes—minutes in which, as a close friend who happened to be there for a wedding later told me, people did what anyone would do: panic and try to take shelter, yes, but also attempt to make peace with the inconceivable notion that there, on a previously unremarkable Saturday in January, they were about to die. Unable to assess the legitimacy of the threat, my friend called her parents and told them she loved them, then she and a few other wedding attendees headed for the beach. At the very least, they decided, they would die somewhere beautiful.\u003c/p>\n\u003cfigure id=\"attachment_13841582\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n.jpg\" alt=\"Chelsea Coleman performs at a You're Going To Die event at now-defunct San Francisco space Viracocha.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Coleman performs at a You’re Going To Die event at now-defunct San Francisco space Viracocha. \u003ccite>(Courtesy YG2D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t be alone in hitting a wall of cognitive dissonance when I try to think about death: it’s universal, an equalizer, one of the few absolute inevitabilities about the experience of being human (along with taxes, har har). And yet it’s also so personal, and unknowable: especially for those of us who don’t practice a religion with a sure-footed concept of the afterlife, what actually happens when we leave this mortal coil is the ultimate in unavoidable question marks. All of which makes it fantastically appealing to try to avoid the topic entirely—particularly if you live somewhere, like, say, America, that worships youth and the young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the uptick in death-themed workshops and events geared toward young people is any indication, avoiding the topic of death is no longer working for a vast number of people.\u003c/p>\n\u003cp>“It’s a really a whole movement we’re seeing, in which people are asking different questions, having new conversations, saying they’re not satisfied with how death has been treated in our culture—which is, of course, to push it aside until you can’t anymore,” says Chelsea Coleman, a singer-songwriter and co-host of \u003ca href=\"http://www.yg2d.com/\" target=\"_blank\" rel=\"noopener noreferrer\">You’re Going to Die\u003c/a>, an ongoing performance series in which participants are invited to share stories and songs about grief and loss. Coleman hosts the series’ first Oakland event this Wednesday, Sept. 26, at the \u003ca href=\"http://www.starlinesocialclub.com/StarlineSite/\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>.\u003c/p>\n\u003cp>Founded in San Francisco in March 2009 by the writer Ned Buskirk, “YG2D” began as a monthly community open mic at the intimate, now-defunct venue Viracocha; it didn’t take long for the event to start regularly selling out. Buskirk soon restructured the night to highlight featured musicians at each event, eventually asking Coleman to join him as co-host.\u003c/p>\n\u003cfigure id=\"attachment_13841583\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n.jpg\" alt=\"Ned Buskirk founded You're Going To Die in 2009.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ned Buskirk founded You’re Going To Die in 2009. \u003ccite>(Courtesy YG2D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coleman attended her first event in 2012, shortly after the death of her grandfather, with whom she was very close. “I was with him when he died, and I wrote songs about it, so I was looking for an outlet to perform some heavy stuff,” says Coleman. “Often when you play at a bar, it’s like—sure, you can play songs about heartbreak, but ‘Here’s a song about my grandpa dying’ is really not the vibe most places.”\u003c/p>\n\u003cp>She was hooked after one show. “It was such a powerful space,” says Coleman. “Hearing other people speak and perform is always moving, but I also felt like what I was offering had more power there. In the past I had sometimes felt like what I was doing was a burden.”\u003c/p>\n\u003cp>“But people show up [at YG2D] because they \u003cem>want\u003c/em> to have an emotional experience,” she says. “That changes everything.”\u003c/p>\n\u003cfigure id=\"attachment_13841580\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n.jpg\" alt=\"A selection from the You're Going To Die Instagram feed, which offers regular reminders of the inevitable.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A selection from the You’re Going To Die Instagram feed, which offers regular reminders of the inevitable. \u003ccite>(Courtesy YG2D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’re Going To Die became a registered nonprofit in 2017. The organization has expanded swiftly in the last two years, forging new partnerships with prisons—including workshops and shows at San Quentin—and \u003ca href=\"https://www.songsforlife.info/\" target=\"_blank\" rel=\"noopener noreferrer\">with hospice programs\u003c/a>, in which volunteers visit with people who are dying to hear stories, and to write or play music with them. The events are spreading geographically as well, with workshops or shows planned for San Diego, Ohio and New York in the coming months.\u003c/p>\n\u003cp>In doing so, the nonprofit joins organizations like \u003ca href=\"http://thedinnerparty.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dinner Party\u003c/a>, a grief support network for 20- and 30-somethings that began as a series of informal potlucks in LA; the network now includes meetups in the Bay Area, Washington, D.C. and New York. \u003ca href=\"https://deathsalon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Salon, \u003c/a>meanwhile, hosts pop-up events of academic discussion and performance organized by a group of medical historians, artists and funeral industry professionals who’ve positioned themselves at the forefront of the \u003ca href=\"http://www.orderofthegooddeath.com/resources/death-positive-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Death Positive Movement\u003c/a>.\u003c/p>\n\u003cp>It’s tough, as an American, not to wonder if there’s some correlation between the growing call for such conversations and the events of the past two years—when macabre jokes about our president’s access to nuclear buttons have become part of daily life: one part gallows humor, two parts very real fear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13841581\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n.jpg\" alt=\"\" width=\"720\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-520x379.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut for a vast number of Americans, of course, the reality of death is perhaps no closer than it ever felt before: black men and women contend with the reality that they might be killed every time they step out the door, for actions as simple as walking, driving or \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener noreferrer\">taking BART\u003c/a>. When \u003ca href=\"https://www.translifeline.org/emmadeboncoeurchallenge\" target=\"_blank\" rel=\"noopener noreferrer\">a former coworker of mine, an activist and health care worker who was also a trans woman\u003c/a>, died earlier this year, I felt (along with sadness for her family and close friends) a small sting of resignation: \u003cem>the numbers don’t lie. \u003c/em>\u003c/p>\n\u003cp>Coleman has a sense, however, that those not previously accustomed to considering death may have been moved in that direction by the “heightened” state of U.S. politics since 2016.\u003c/p>\n\u003cp>“I think a lot of people who have had the privilege of being in denial for a long time are starting to ask questions,” she says, as I flash on my brief lightning storm-induced terror. “A lot of communities haven’t had that privilege.”\u003c/p>\n\u003cp>Regardless of the timing, “I think things feel heavy right now for pretty much everyone, and it’s very clear to me that people are hungry for these kinds of conversations,” says Coleman, recalling the first YG2D event she hosted solo, without Buskirk. “I was nervous people weren’t going to want to talk, but from the moment we started, \u003cem>everyone\u003c/em> wanted to tell stories.”\u003c/p>\n\u003cp>Oh, and keep that in mind if you’re heading to your first YG2D, as well. Coleman says some of the most powerful performances come from people who weren’t planning on performing. While the event has morphed over the years, the open-mic portion still makes up its bones. Audience members who’ve never sung or told stories publicly before quite frequently take the stage.\u003c/p>\n\u003cp>In other words, there’s perhaps something universal happening there as well. What would I do if I had 38 minutes to live? For a topic so commonplace, so obvious and so inevitable, people surprise themselves all the damn time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>You’re Going to Die’s first Oakland event starts at 7:30pm this Wednesday, Sept. 26, at the Starline Social Club. \u003ca href=\"https://www.facebook.com/events/300821790506816/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The uptick in death-themed events geared toward young people heralds a shift in how we embrace the subject of dying.","status":"publish","parent":0,"modified":1705027211,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1402},"headData":{"title":"The Four Words Nobody Likes to Hear: You're Going to Die | KQED","description":"The uptick in death-themed events geared toward young people heralds a shift in how we embrace the subject of dying.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Four Words Nobody Likes to Hear: You're Going to Die","datePublished":"2018-09-25T00:00:32.000Z","dateModified":"2024-01-12T02:40:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13841445/the-four-words-nobody-likes-to-hear-youre-going-to-die","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>bout two months ago, seated on a small airplane that was descending through a lightning storm on its way to land in Florence, Italy, I was 90 percent certain I was going to die.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My terror only lasted about 10 minutes—from the moment I saw the first flash in the dark outside the tiny window, through a half-dozen weightless-feeling, heart-stopping lurches, until the wheels touched down on the runway.\u003c/p>\n\u003cp>Which is to say, it was nothing compared to what the residents of Hawaii felt earlier this year when one click of the wrong button at a local government office sent warning of an imminent ballistic missile in an all-caps text message to everyone within state limits.\u003c/p>\n\u003cp>The mistake went uncorrected for 38 minutes—minutes in which, as a close friend who happened to be there for a wedding later told me, people did what anyone would do: panic and try to take shelter, yes, but also attempt to make peace with the inconceivable notion that there, on a previously unremarkable Saturday in January, they were about to die. Unable to assess the legitimacy of the threat, my friend called her parents and told them she loved them, then she and a few other wedding attendees headed for the beach. At the very least, they decided, they would die somewhere beautiful.\u003c/p>\n\u003cfigure id=\"attachment_13841582\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n.jpg\" alt=\"Chelsea Coleman performs at a You're Going To Die event at now-defunct San Francisco space Viracocha.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11282589_694239474020972_775710681_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Coleman performs at a You’re Going To Die event at now-defunct San Francisco space Viracocha. \u003ccite>(Courtesy YG2D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t be alone in hitting a wall of cognitive dissonance when I try to think about death: it’s universal, an equalizer, one of the few absolute inevitabilities about the experience of being human (along with taxes, har har). And yet it’s also so personal, and unknowable: especially for those of us who don’t practice a religion with a sure-footed concept of the afterlife, what actually happens when we leave this mortal coil is the ultimate in unavoidable question marks. All of which makes it fantastically appealing to try to avoid the topic entirely—particularly if you live somewhere, like, say, America, that worships youth and the young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the uptick in death-themed workshops and events geared toward young people is any indication, avoiding the topic of death is no longer working for a vast number of people.\u003c/p>\n\u003cp>“It’s a really a whole movement we’re seeing, in which people are asking different questions, having new conversations, saying they’re not satisfied with how death has been treated in our culture—which is, of course, to push it aside until you can’t anymore,” says Chelsea Coleman, a singer-songwriter and co-host of \u003ca href=\"http://www.yg2d.com/\" target=\"_blank\" rel=\"noopener noreferrer\">You’re Going to Die\u003c/a>, an ongoing performance series in which participants are invited to share stories and songs about grief and loss. Coleman hosts the series’ first Oakland event this Wednesday, Sept. 26, at the \u003ca href=\"http://www.starlinesocialclub.com/StarlineSite/\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>.\u003c/p>\n\u003cp>Founded in San Francisco in March 2009 by the writer Ned Buskirk, “YG2D” began as a monthly community open mic at the intimate, now-defunct venue Viracocha; it didn’t take long for the event to start regularly selling out. Buskirk soon restructured the night to highlight featured musicians at each event, eventually asking Coleman to join him as co-host.\u003c/p>\n\u003cfigure id=\"attachment_13841583\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n.jpg\" alt=\"Ned Buskirk founded You're Going To Die in 2009.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11111260_1637856669779571_279497007_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ned Buskirk founded You’re Going To Die in 2009. \u003ccite>(Courtesy YG2D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coleman attended her first event in 2012, shortly after the death of her grandfather, with whom she was very close. “I was with him when he died, and I wrote songs about it, so I was looking for an outlet to perform some heavy stuff,” says Coleman. “Often when you play at a bar, it’s like—sure, you can play songs about heartbreak, but ‘Here’s a song about my grandpa dying’ is really not the vibe most places.”\u003c/p>\n\u003cp>She was hooked after one show. “It was such a powerful space,” says Coleman. “Hearing other people speak and perform is always moving, but I also felt like what I was offering had more power there. In the past I had sometimes felt like what I was doing was a burden.”\u003c/p>\n\u003cp>“But people show up [at YG2D] because they \u003cem>want\u003c/em> to have an emotional experience,” she says. “That changes everything.”\u003c/p>\n\u003cfigure id=\"attachment_13841580\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n.jpg\" alt=\"A selection from the You're Going To Die Instagram feed, which offers regular reminders of the inevitable.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/11032944_533940236747897_714842460_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A selection from the You’re Going To Die Instagram feed, which offers regular reminders of the inevitable. \u003ccite>(Courtesy YG2D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’re Going To Die became a registered nonprofit in 2017. The organization has expanded swiftly in the last two years, forging new partnerships with prisons—including workshops and shows at San Quentin—and \u003ca href=\"https://www.songsforlife.info/\" target=\"_blank\" rel=\"noopener noreferrer\">with hospice programs\u003c/a>, in which volunteers visit with people who are dying to hear stories, and to write or play music with them. The events are spreading geographically as well, with workshops or shows planned for San Diego, Ohio and New York in the coming months.\u003c/p>\n\u003cp>In doing so, the nonprofit joins organizations like \u003ca href=\"http://thedinnerparty.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dinner Party\u003c/a>, a grief support network for 20- and 30-somethings that began as a series of informal potlucks in LA; the network now includes meetups in the Bay Area, Washington, D.C. and New York. \u003ca href=\"https://deathsalon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Salon, \u003c/a>meanwhile, hosts pop-up events of academic discussion and performance organized by a group of medical historians, artists and funeral industry professionals who’ve positioned themselves at the forefront of the \u003ca href=\"http://www.orderofthegooddeath.com/resources/death-positive-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Death Positive Movement\u003c/a>.\u003c/p>\n\u003cp>It’s tough, as an American, not to wonder if there’s some correlation between the growing call for such conversations and the events of the past two years—when macabre jokes about our president’s access to nuclear buttons have become part of daily life: one part gallows humor, two parts very real fear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13841581\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n.jpg\" alt=\"\" width=\"720\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/22580462_131322020857498_155442438469582848_n-520x379.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut for a vast number of Americans, of course, the reality of death is perhaps no closer than it ever felt before: black men and women contend with the reality that they might be killed every time they step out the door, for actions as simple as walking, driving or \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener noreferrer\">taking BART\u003c/a>. When \u003ca href=\"https://www.translifeline.org/emmadeboncoeurchallenge\" target=\"_blank\" rel=\"noopener noreferrer\">a former coworker of mine, an activist and health care worker who was also a trans woman\u003c/a>, died earlier this year, I felt (along with sadness for her family and close friends) a small sting of resignation: \u003cem>the numbers don’t lie. \u003c/em>\u003c/p>\n\u003cp>Coleman has a sense, however, that those not previously accustomed to considering death may have been moved in that direction by the “heightened” state of U.S. politics since 2016.\u003c/p>\n\u003cp>“I think a lot of people who have had the privilege of being in denial for a long time are starting to ask questions,” she says, as I flash on my brief lightning storm-induced terror. “A lot of communities haven’t had that privilege.”\u003c/p>\n\u003cp>Regardless of the timing, “I think things feel heavy right now for pretty much everyone, and it’s very clear to me that people are hungry for these kinds of conversations,” says Coleman, recalling the first YG2D event she hosted solo, without Buskirk. “I was nervous people weren’t going to want to talk, but from the moment we started, \u003cem>everyone\u003c/em> wanted to tell stories.”\u003c/p>\n\u003cp>Oh, and keep that in mind if you’re heading to your first YG2D, as well. Coleman says some of the most powerful performances come from people who weren’t planning on performing. While the event has morphed over the years, the open-mic portion still makes up its bones. Audience members who’ve never sung or told stories publicly before quite frequently take the stage.\u003c/p>\n\u003cp>In other words, there’s perhaps something universal happening there as well. What would I do if I had 38 minutes to live? For a topic so commonplace, so obvious and so inevitable, people surprise themselves all the damn time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>You’re Going to Die’s first Oakland event starts at 7:30pm this Wednesday, Sept. 26, at the Starline Social Club. \u003ca href=\"https://www.facebook.com/events/300821790506816/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13841445/the-four-words-nobody-likes-to-hear-youre-going-to-die","authors":["7237"],"categories":["arts_2303","arts_835","arts_69"],"tags":["arts_2767","arts_2836","arts_1118","arts_596"],"featImg":"arts_13841584","label":"arts"},"arts_13829574":{"type":"posts","id":"arts_13829574","meta":{"index":"posts_1591205157","site":"arts","id":"13829574","score":null,"sort":[1523991606000]},"guestAuthors":[],"slug":"ever-wanted-to-experience-your-own-death","title":"Ever Wanted to Experience Your Own Death?","publishDate":1523991606,"format":"image","headTitle":"Ever Wanted to Experience Your Own Death? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Spring’s rebirth may be in the air, but across San Francisco this week, much of the city is pondering death.\u003c/p>\n\u003cp>That’s the focus of \u003ca href=\"https://letsreimagine.org/san-francisco\" rel=\"noopener\" target=\"_blank\">Reimagine End of Life\u003c/a>, a weeklong exploration of a subject many regard with sadness and abject dread. The festival, running April 16–22, encompasses 175 unique events that range from a panel on how to ensure your last wishes are honored to a grief-themed comedy showcase — all designed to encourage conversation and diminish the stigmas that surround life’s end.\u003c/p>\n\u003cp>Serving as one of Reimagine’s centerpieces is \u003ca href=\"http://www.lavasaga.com\" rel=\"noopener\" target=\"_blank\">Second Chance\u003c/a> — a two-hour immersive experience in which groups of ten are given the opportunity to face their own death. Taking place in the multi-story Mission District workspace The Laundry, the show utilizes elements like virtual reality, lighting design, acrobats, and live music as a means of allowing participants to experience death and, as a hopeful result, to live life more fully.\u003c/p>\n\u003cp>Second Chance producers Scott Shigeoka, Roxanna Shohadaee, and Melinda Lauw each bring different backgrounds to the project while collectively sharing a passion for immersive experiences.\u003c/p>\n\u003cfigure id=\"attachment_13829577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-800x534.jpg\" alt=\"Second Chance producers Melinda Lauw, Scott Shigeoka, and Roxanna Shohadaee (L–R).\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13829577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Second Chance producers Melinda Lauw, Scott Shigeoka, and Roxanna Shohadaee (L–R). \u003ccite>(Courtesy Second Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shigeoka can trace his interest back to a treehouse he and his father built in a mango tree where, as a child, he used to act out elaborate stories. Shohadaee turned down a full ride at Vanderbilt to study astronomy in pursuit of the arts, which included a four-year stint working for Burning Man. Lauw is one of the co-founders of Whisperlodge — an immersive sensory spa that taps into the concept of Autonomous Sensory Meridian Response (ASMR), in which pleasure is derived from certain visual, auditory, and tactile stimuli.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The popularity of immersive experiences, a catch-all term for productions that circumvent theater’s fourth wall and require participants to actively engage in the performance, continues to rise. From landmark productions like New York City’s Sleep No More to a number of seasonal haunted houses (or “haunts”) that occur in Los Angeles each fall, the public’s appetite for interactive theater appears to be insatiable. While by nature immersive experiences are best enjoyed without knowing too much beforehand, the producers of Second Chance insist that no one who buys a ticket should be scared of what they’ll encounter.\u003c/p>\n\u003cp>“It’s not about shock,” Shigeoka says. “It’s not about triggering anyone. It’s not meant to be provocative in that sense.” He notes that each performance of Second Chance provides access to counselors and death doulas for anyone who may require them.\u003c/p>\n\u003cp>After purchasing a ticket, participants are asked to fill out a short survey, which is used to help tailor the experience to each person. Upon entering, attendees are guided for the duration of the performance, which includes elements like writing a eulogy and drinking tea served from cups made with human ashes.\u003c/p>\n\u003cfigure id=\"attachment_13829578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-800x373.jpg\" alt=\"It's best not to know what to expect, Second Chance producers assert, but therapists and death doulas are on hand.\" width=\"800\" height=\"373\" class=\"size-medium wp-image-13829578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-800x373.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-768x358.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-1020x475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-1200x559.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-960x447.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-375x175.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-520x242.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s best not to know what to expect, Second Chance producers assert, but therapists and death doulas are on hand. \u003ccite>(Courtesy Second Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shigeoka recognizes that some people are wary of facing their own death, but he believes embracing that vulnerability is the first step on the journey he and his co-creators have curated.\u003c/p>\n\u003cp>“There’s always that moment where you’re really nervous or scared to take a leap into the unknown,” he acknowledges, “but when you do it, oftentimes you look back and see that you were nervous or afraid because it was a moment of growth.”\u003c/p>\n\u003cp>Co-creator Roxanna Shohadaee points to the stories from survivors of near-death experiences, which the Second Chance team actively solicited in the early stages of creating the production.\u003c/p>\n\u003cp>“Across the board, their feedback was that they lived more fully following their experiences,” she notes.\u003c/p>\n\u003cp>While Shigeoka understands that, for some, more passive Reimagine offerings like poetry readings and film screenings may be the ideal fit, he’s proud that the festival is providing a chance for those who crave immersion to engage with a subject so often relegated to the shadows of our consciousness.\u003c/p>\n\u003cp>“This is a conversation, these questions around life and death, that hopefully all of San Francisco will be having through Reimagine. We definitely see Second Chance as part of a broader effort, but we’re really excited to provide an opportunity for those who really want to be a part of an immersive experience where they’re given a platform to explore and to go as deep as they want.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Second Chance’ runs April 20–22 at The Laundry (3359 26th St., San Francisco). Tickets are $77; scholarships available. \u003ca href=\"http://www.lavasaga.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The producers at Second Chance don't want to terrify you — but they do want to show you what it's like to die, and to live more fully afterward.","status":"publish","parent":0,"modified":1705028069,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":815},"headData":{"title":"Ever Wanted to Experience Your Own Death? | KQED","description":"The producers at Second Chance don't want to terrify you — but they do want to show you what it's like to die, and to live more fully afterward.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ever Wanted to Experience Your Own Death?","datePublished":"2018-04-17T19:00:06.000Z","dateModified":"2024-01-12T02:54:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Zack Ruskin","path":"/arts/13829574/ever-wanted-to-experience-your-own-death","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spring’s rebirth may be in the air, but across San Francisco this week, much of the city is pondering death.\u003c/p>\n\u003cp>That’s the focus of \u003ca href=\"https://letsreimagine.org/san-francisco\" rel=\"noopener\" target=\"_blank\">Reimagine End of Life\u003c/a>, a weeklong exploration of a subject many regard with sadness and abject dread. The festival, running April 16–22, encompasses 175 unique events that range from a panel on how to ensure your last wishes are honored to a grief-themed comedy showcase — all designed to encourage conversation and diminish the stigmas that surround life’s end.\u003c/p>\n\u003cp>Serving as one of Reimagine’s centerpieces is \u003ca href=\"http://www.lavasaga.com\" rel=\"noopener\" target=\"_blank\">Second Chance\u003c/a> — a two-hour immersive experience in which groups of ten are given the opportunity to face their own death. Taking place in the multi-story Mission District workspace The Laundry, the show utilizes elements like virtual reality, lighting design, acrobats, and live music as a means of allowing participants to experience death and, as a hopeful result, to live life more fully.\u003c/p>\n\u003cp>Second Chance producers Scott Shigeoka, Roxanna Shohadaee, and Melinda Lauw each bring different backgrounds to the project while collectively sharing a passion for immersive experiences.\u003c/p>\n\u003cfigure id=\"attachment_13829577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-800x534.jpg\" alt=\"Second Chance producers Melinda Lauw, Scott Shigeoka, and Roxanna Shohadaee (L–R).\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13829577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SecondChanceCoProducers_Cou-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Second Chance producers Melinda Lauw, Scott Shigeoka, and Roxanna Shohadaee (L–R). \u003ccite>(Courtesy Second Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shigeoka can trace his interest back to a treehouse he and his father built in a mango tree where, as a child, he used to act out elaborate stories. Shohadaee turned down a full ride at Vanderbilt to study astronomy in pursuit of the arts, which included a four-year stint working for Burning Man. Lauw is one of the co-founders of Whisperlodge — an immersive sensory spa that taps into the concept of Autonomous Sensory Meridian Response (ASMR), in which pleasure is derived from certain visual, auditory, and tactile stimuli.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The popularity of immersive experiences, a catch-all term for productions that circumvent theater’s fourth wall and require participants to actively engage in the performance, continues to rise. From landmark productions like New York City’s Sleep No More to a number of seasonal haunted houses (or “haunts”) that occur in Los Angeles each fall, the public’s appetite for interactive theater appears to be insatiable. While by nature immersive experiences are best enjoyed without knowing too much beforehand, the producers of Second Chance insist that no one who buys a ticket should be scared of what they’ll encounter.\u003c/p>\n\u003cp>“It’s not about shock,” Shigeoka says. “It’s not about triggering anyone. It’s not meant to be provocative in that sense.” He notes that each performance of Second Chance provides access to counselors and death doulas for anyone who may require them.\u003c/p>\n\u003cp>After purchasing a ticket, participants are asked to fill out a short survey, which is used to help tailor the experience to each person. Upon entering, attendees are guided for the duration of the performance, which includes elements like writing a eulogy and drinking tea served from cups made with human ashes.\u003c/p>\n\u003cfigure id=\"attachment_13829578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-800x373.jpg\" alt=\"It's best not to know what to expect, Second Chance producers assert, but therapists and death doulas are on hand.\" width=\"800\" height=\"373\" class=\"size-medium wp-image-13829578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-800x373.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-768x358.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-1020x475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-1200x559.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-960x447.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-375x175.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image002_CourtesyofSecondCh-520x242.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s best not to know what to expect, Second Chance producers assert, but therapists and death doulas are on hand. \u003ccite>(Courtesy Second Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shigeoka recognizes that some people are wary of facing their own death, but he believes embracing that vulnerability is the first step on the journey he and his co-creators have curated.\u003c/p>\n\u003cp>“There’s always that moment where you’re really nervous or scared to take a leap into the unknown,” he acknowledges, “but when you do it, oftentimes you look back and see that you were nervous or afraid because it was a moment of growth.”\u003c/p>\n\u003cp>Co-creator Roxanna Shohadaee points to the stories from survivors of near-death experiences, which the Second Chance team actively solicited in the early stages of creating the production.\u003c/p>\n\u003cp>“Across the board, their feedback was that they lived more fully following their experiences,” she notes.\u003c/p>\n\u003cp>While Shigeoka understands that, for some, more passive Reimagine offerings like poetry readings and film screenings may be the ideal fit, he’s proud that the festival is providing a chance for those who crave immersion to engage with a subject so often relegated to the shadows of our consciousness.\u003c/p>\n\u003cp>“This is a conversation, these questions around life and death, that hopefully all of San Francisco will be having through Reimagine. We definitely see Second Chance as part of a broader effort, but we’re really excited to provide an opportunity for those who really want to be a part of an immersive experience where they’re given a platform to explore and to go as deep as they want.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Second Chance’ runs April 20–22 at The Laundry (3359 26th St., San Francisco). Tickets are $77; scholarships available. \u003ca href=\"http://www.lavasaga.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13829574/ever-wanted-to-experience-your-own-death","authors":["byline_arts_13829574"],"categories":["arts_835"],"tags":["arts_2836","arts_1118","arts_596","arts_1935"],"featImg":"arts_13829576","label":"arts"},"arts_13824126":{"type":"posts","id":"arts_13824126","meta":{"index":"posts_1591205157","site":"arts","id":"13824126","score":null,"sort":[1518271216000]},"guestAuthors":[],"slug":"the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz","title":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz","publishDate":1518271216,"format":"audio","headTitle":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The liminal space between life and death is the focus of installations up now at the Santa Cruz Museum of Art & History. ","status":"publish","parent":0,"modified":1705028547,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":897},"headData":{"title":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz | KQED","description":"The liminal space between life and death is the focus of installations up now at the Santa Cruz Museum of Art & History. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz","datePublished":"2018-02-10T14:00:16.000Z","dateModified":"2024-01-12T03:02:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2018/02/TheDeadWillTalkToYouNowOrAtLeastListenInSantaCruz.mp3","sticky":false,"path":"/arts/13824126/the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz","audioDuration":103000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13824126/the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz","authors":["251"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_2836","arts_3648","arts_1028"],"featImg":"arts_13824130","label":"arts"},"arts_13812107":{"type":"posts","id":"arts_13812107","meta":{"index":"posts_1591205157","site":"arts","id":"13812107","score":null,"sort":[1508677258000]},"guestAuthors":[],"slug":"the-book-on-death-you-did-not-know-you-needed","title":"The Book on Death You Did Not Know You Needed","publishDate":1508677258,"format":"image","headTitle":"The Book on Death You Did Not Know You Needed | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>I did not set out to read a book on funerary practices. Neither did I foresee staying up to finish just one more chapter of it until one or two in the morning, turning pages, unable to pull myself away. But that’s what happened with Caitlin Doughty’s \u003cem>From Here to Eternity\u003c/em>, a world-trotting exploration of funerary rites. It’s not that I’m particularly squeamish…\u003c/p>\n\u003cp>Okay, maybe I’m a little squeamish.\u003c/p>\n\u003cp>But this slim volume, full of captivating, enlightening, and humorous tidbits, is a—dare I say—\u003cem>uplifting\u003c/em> exploration of what people the world over do to withstand loss and the bite of impermanence. This is death as viewed by a mortician: profound, unavoidable, natural, and a bit funny.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13812125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/heretoeternitycover.jpg\" alt=\"\" width=\"400\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-768x1169.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-375x571.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-520x791.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">“The first few months after I opened my funeral home,” Doughty writes in the introduction to this book, “a ringing phone qualified as a thrilling event[.] ‘What if… what if someone \u003cem>died\u003c/em>?’ I’d gasp. (Well yes, dear, it’s a funeral home—that would be the point.)”\u003c/p>\n\u003cp>Caitlin Doughty once worked in the Bay Area as a crematory technician, but she opened her own funeral home in L.A. to fill a gap in what she saw was an overly corporate environment to deal with something as momentous as death. There are politics, it turns out, when it comes to corpses. Doughty writes:\u003c/p>\n\u003cblockquote>\u003cp>When deathcare became an industry in the early twentieth century, there was a seismic shift in who was responsible for the dead. Caring for the corpse went from visceral, primeval work performed by women to a “profession,” an “art,” and even a “science,” performed by well-paid men. The corpse with all its physical and emotional messiness, was taken from women. It was made neat and clean, and placed in its casket on a pedestal, always just out of our grasp.\u003c/p>\u003c/blockquote>\n\u003cp>Whether at home or overseas, Doughty is a deliberate and studied observer. She’s the judicious tour leader of a world you did not know you would be so interested to find out about. There are sky burials, burials by fire, natural burials, mummifications, and mourners who engage in complex daylong, weeklong, and even intergenerational-long rituals to process and understand death. Doughty’s infectious curiosity and celebration of funerary customs become your own; pretty soon, you too, might take issue with the lack of options and freedom to grieve in the United States. “In our Western culture,” Doughty asks, “where are we held in our grief?”\u003c/p>\n\u003cfigure id=\"attachment_13812119\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812119 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead display at Cafe Mestizo, Chicago, 2006. Photographed by Señor Codo. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to the pyres of India (\u003cem>Death you think you have defeated us, but we sing the song of burning firewood\u003c/em>, one traditional song goes), or the altars of Mexico (decorated with marigolds, candles, confetti, and offering foodstuffs for the visiting spirits), the rather clinical, fluorescent, and disinfected tradition in the U.S. leaves much to desire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Doughty relates the astonishing tale of one insensitive American doctor who in the single minutes following a death, waltzed into the room where the newly-grieving family sat bewildered, glanced at the medical chart, and pulled the plug on the inflatable mattress the body was still laying on, sending the body into upsetting motion, and then walked out, all without saying a word.\u003c/p>\n\u003cp>Deathcare in the U.S., Doughty claims, has not only made it impossible for immigrant and other religious groups to engage in their cultural traditions, it’s put the American people out of touch in dealing with loss. Bodies are handled by technicians, wakes last exactly two hours, and processions lead straight to the cemetery. In America, it’s as if there were a deadline for contemplating death.\u003c/p>\n\u003cfigure id=\"attachment_13812122\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812122 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/i-cancorp.jpg\" alt=\"\" width=\"665\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-520x388.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">In Japan, there is a movement for even further abstraction of death. I-Can Corp offers virtual cemetery visits. Doughty says I-Can Corp “presents a Sims-like experience in which your ancestor’s virtual gravestone appears on a screen in a green field. The user can, according to taste, light a virtual incense stick, place flowers, sprinkle water on the stone, and leave fruit and glasses of beer.”\u003c/figcaption>\u003c/figure>\n\u003cp>To Caitlin Doughty, though, death has a remarkable whiff of life. In describing her own wishes after passing, her enthusiasm is enough to make me second it:\u003c/p>\n\u003cblockquote>\u003cp>Women’s bodies are so often under the purview of men, whether it’s our reproductive organs, our sexuality, our weight, our manner of dress. There is a freedom found in decomposition, a body rendered messy, chaotic, and wild. I relish this image when visualizing what will become of my future corpse.\u003c/p>\u003c/blockquote>\n\u003cp>Doughty is charming, humorous, and there is probably no better initiation into the behind-the-scenes and around-the-world of how we deal with death than this book. In \u003cem>From Here to Eternity\u003c/em>, the rituals following a passing are actually in service for the living, and the nobility of a funeral delivers loved ones to the great beyond in just the right way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘From Here to Eternity’ is on sale in stores now. Caitlin Doughty is based in Los Angeles.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks!\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In Caitlin Doughty’s 'From Here to Eternity,' the American grieving tradition —strange, clinical — falls in stark contrast to the rest of the world's processes with death.","status":"publish","parent":0,"modified":1705029277,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":908},"headData":{"title":"The Book on Death You Did Not Know You Needed | KQED","description":"In Caitlin Doughty’s 'From Here to Eternity,' the American grieving tradition —strange, clinical — falls in stark contrast to the rest of the world's processes with death.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Book on Death You Did Not Know You Needed","datePublished":"2017-10-22T13:00:58.000Z","dateModified":"2024-01-12T03:14:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13812107/the-book-on-death-you-did-not-know-you-needed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I did not set out to read a book on funerary practices. Neither did I foresee staying up to finish just one more chapter of it until one or two in the morning, turning pages, unable to pull myself away. But that’s what happened with Caitlin Doughty’s \u003cem>From Here to Eternity\u003c/em>, a world-trotting exploration of funerary rites. It’s not that I’m particularly squeamish…\u003c/p>\n\u003cp>Okay, maybe I’m a little squeamish.\u003c/p>\n\u003cp>But this slim volume, full of captivating, enlightening, and humorous tidbits, is a—dare I say—\u003cem>uplifting\u003c/em> exploration of what people the world over do to withstand loss and the bite of impermanence. This is death as viewed by a mortician: profound, unavoidable, natural, and a bit funny.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13812125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/heretoeternitycover.jpg\" alt=\"\" width=\"400\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-768x1169.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-375x571.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heretoeternitycover-520x791.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">“The first few months after I opened my funeral home,” Doughty writes in the introduction to this book, “a ringing phone qualified as a thrilling event[.] ‘What if… what if someone \u003cem>died\u003c/em>?’ I’d gasp. (Well yes, dear, it’s a funeral home—that would be the point.)”\u003c/p>\n\u003cp>Caitlin Doughty once worked in the Bay Area as a crematory technician, but she opened her own funeral home in L.A. to fill a gap in what she saw was an overly corporate environment to deal with something as momentous as death. There are politics, it turns out, when it comes to corpses. Doughty writes:\u003c/p>\n\u003cblockquote>\u003cp>When deathcare became an industry in the early twentieth century, there was a seismic shift in who was responsible for the dead. Caring for the corpse went from visceral, primeval work performed by women to a “profession,” an “art,” and even a “science,” performed by well-paid men. The corpse with all its physical and emotional messiness, was taken from women. It was made neat and clean, and placed in its casket on a pedestal, always just out of our grasp.\u003c/p>\u003c/blockquote>\n\u003cp>Whether at home or overseas, Doughty is a deliberate and studied observer. She’s the judicious tour leader of a world you did not know you would be so interested to find out about. There are sky burials, burials by fire, natural burials, mummifications, and mourners who engage in complex daylong, weeklong, and even intergenerational-long rituals to process and understand death. Doughty’s infectious curiosity and celebration of funerary customs become your own; pretty soon, you too, might take issue with the lack of options and freedom to grieve in the United States. “In our Western culture,” Doughty asks, “where are we held in our grief?”\u003c/p>\n\u003cfigure id=\"attachment_13812119\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812119 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Day_of_the_Dead_278096984-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead display at Cafe Mestizo, Chicago, 2006. Photographed by Señor Codo. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to the pyres of India (\u003cem>Death you think you have defeated us, but we sing the song of burning firewood\u003c/em>, one traditional song goes), or the altars of Mexico (decorated with marigolds, candles, confetti, and offering foodstuffs for the visiting spirits), the rather clinical, fluorescent, and disinfected tradition in the U.S. leaves much to desire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Doughty relates the astonishing tale of one insensitive American doctor who in the single minutes following a death, waltzed into the room where the newly-grieving family sat bewildered, glanced at the medical chart, and pulled the plug on the inflatable mattress the body was still laying on, sending the body into upsetting motion, and then walked out, all without saying a word.\u003c/p>\n\u003cp>Deathcare in the U.S., Doughty claims, has not only made it impossible for immigrant and other religious groups to engage in their cultural traditions, it’s put the American people out of touch in dealing with loss. Bodies are handled by technicians, wakes last exactly two hours, and processions lead straight to the cemetery. In America, it’s as if there were a deadline for contemplating death.\u003c/p>\n\u003cfigure id=\"attachment_13812122\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812122 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/i-cancorp.jpg\" alt=\"\" width=\"665\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/i-cancorp-520x388.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">In Japan, there is a movement for even further abstraction of death. I-Can Corp offers virtual cemetery visits. Doughty says I-Can Corp “presents a Sims-like experience in which your ancestor’s virtual gravestone appears on a screen in a green field. The user can, according to taste, light a virtual incense stick, place flowers, sprinkle water on the stone, and leave fruit and glasses of beer.”\u003c/figcaption>\u003c/figure>\n\u003cp>To Caitlin Doughty, though, death has a remarkable whiff of life. In describing her own wishes after passing, her enthusiasm is enough to make me second it:\u003c/p>\n\u003cblockquote>\u003cp>Women’s bodies are so often under the purview of men, whether it’s our reproductive organs, our sexuality, our weight, our manner of dress. There is a freedom found in decomposition, a body rendered messy, chaotic, and wild. I relish this image when visualizing what will become of my future corpse.\u003c/p>\u003c/blockquote>\n\u003cp>Doughty is charming, humorous, and there is probably no better initiation into the behind-the-scenes and around-the-world of how we deal with death than this book. In \u003cem>From Here to Eternity\u003c/em>, the rituals following a passing are actually in service for the living, and the nobility of a funeral delivers loved ones to the great beyond in just the right way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘From Here to Eternity’ is on sale in stores now. Caitlin Doughty is based in Los Angeles.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812107/the-book-on-death-you-did-not-know-you-needed","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_2836","arts_2839","arts_1118","arts_2837","arts_2838","arts_596"],"featImg":"arts_13812109","label":"arts_1054"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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