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"content": "\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>So you’re going to the Cannes Film Festival! Better yet, you’re participating in the prestigious \u003ca target=\"_blank\" href=\"http://www.cannescourtmetrage.com/en/\" rel=\"noopener\">Cannes Court Métrage \u003c/a>Short Film Corner. Maybe it’s your first time in France or even abroad. What should you know?\u003c/p>\n\u003cp>Luckily, the Short Film Corner is populated with all sorts of rad filmmakers who \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/26/5-short-takeaways-on-the-cannes-short-film-corner/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/26/5-short-takeaways-on-the-cannes-short-film-corner/\" target=\"_blank\" title=\"5 Short Takeaways on the Cannes Short Film Corner\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So you’re going to the Cannes Film Festival! Better yet, you’re participating in the prestigious \u003ca target=\"_blank\" href=\"http://www.cannescourtmetrage.com/en/\" rel=\"noopener\">Cannes Court Métrage \u003c/a>Short Film Corner. Maybe it’s your first time in France or even abroad. What should you know?\u003c/p>\n\u003cp>Luckily, the Short Film Corner is populated with all sorts of rad filmmakers who \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/26/5-short-takeaways-on-the-cannes-short-film-corner/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/26/5-short-takeaways-on-the-cannes-short-film-corner/\" target=\"_blank\" title=\"5 Short Takeaways on the Cannes Short Film Corner\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "This Ride Is Out of Order: Why Disneyland's Pirates of the Caribbean Needs Fixing",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Let’s get one thing straight from the get-go -- Pirates of the Caribbean at Disneyland is a fantastic amusement park ride. After schlepping around Disneyland with the sun beating down on you, feet blistered and sore, senses dulled from the saccharine sweetness of Disney magic, there’s nothing like a 15-minute sit in a bobbing boat, surrounded by cool air and scenes of pirate-y mischief. Fires burn, good men are tortured, and drunkards nap with adorable piggies. Hey, they’re pirates and no one is asking them to be saints. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pirates gonna pirate.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> But part of this ride is out-of-order: the bride-selling scenes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first features a line of captive women -- some elderly, some buck-toothed, most clad in white, all weeping -- tied together at the waist with a thick rope in a sad line. A banner above them proclaims “AUCTION - Take a Wench for a Bride.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The weeping women are background decoration, while the true focus of the scene lands on two other women -- first a lady in red who stands proudly at the head of the roped line some distance away from her unhappy peers. She’s heavily made up and her pert bosom threatens to spill out of her top. She lifts her skirts with one hand to show off her legs, her other hand tangled in her lovely auburn locks. Her face is peaceful, even serene. Of course, she’s not the one for sale at the moment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The woman on the auction block is dressed modestly and holds herself high with a sweet smile on her face. She’s also unapologetically fat -- well proportioned and lovely, but fat. She looks relaxed and proud, even as the auctioneer asks, \"What be I offered for this winsome wench? Stout hearted and corn-fed she be.\" A drunken pirate cries, \"Are ya selling her by the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">pound\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">?\" He’s ignored while the auctioneer instructs her, \"Shift yer cargo, dearie, show 'em your larboard side.\" She complies and turns with the same docile smile.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Fun fact: This “wench” has a name -- \u003c/span>\u003ca href=\"http://pirates.wikia.com/wiki/Pirates_of_the_Caribbean_(Board_game)\">\u003cspan style=\"font-weight: 400\">Tiny\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.)\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the next scene, the results of the auction are clear. Pirates race after their “brides,” looks of terror forever on the faces of the women. Near the end of the scene, riders see Tiny again as the ultimate punchline -- \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">she’s\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the one in hot pursuit of a pirate. As the boat passes by, riders can hear her giggling.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though she is pretty, clean and pleasant (the very essence of \u003c/span>\u003ca href=\"http://everydayfeminism.com/2015/03/12-good-fatty-archetypes/\">\u003cspan style=\"font-weight: 400\">the “good fatty” trope\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), it’s clear to everyone involved in this narrative that Tiny is unlovable and unwantable, even by a marauding crowd of drunken rapists. Once she’s purchased, she’s is still unwanted, yet she is so desperate for physical contact, she pursues a man who other “worthy” women run from screaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At least, this was the version riders encountered until 1997, when there was a major renovation and someone thought the scene would be better if the women were holding food and racing around forever. Post renovation, Tiny chased after a pirate holding a loaf of bread and a sad-looking turkey leg. The line of thinking must have been, “She’s hungry for sex \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">food! There, isn’t that better?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They also removed a part of the scene that featured a woman hiding in a barrel. Her would-be rapist asked riders if they’ve seen a “bewitched maiden in your travels? Oh, she be a lively lassie she were. Oh, I tell you true. It's alright to hoist me colours on the likes of that shy little wench!” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout his speech, he clutched her stolen undergarments. “Favor, keep a weather eye open, mateys. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">I be willing to share I be!\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">\" In 1997, the woman was removed and the pirate’s focus turned to another feast of plastic food. In 2006, the barrel reopened but was filled with a greasy-looking Johnny Depp. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the Johnny Depp update, Disney makes another attempt to modify this chasing scene by putting jewels into the hands of the women. Now Tiny chases a pirate who clutches a cheap-looking red-velvet jewelry box with a few strands of pearls pouring out. She still giggles as she runs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are Disney fans who bristle at the mere idea of changing a classic ride. “The fat bride is canon!” or “This is just another example of PC culture run amok!” But the ride \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">has \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">changed dramatically with the decades. Johnny Depp leering from a barrel is not canon. A musty-smelling fog screen plastered with Bill Nighy’s octopus face is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">not canon\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And Disney knows these scenes with the brides are troubling. Why else would they continue to tweak them?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Luckily, there’s a solution to this mess. It’s elegant, it’s witty and it doesn’t make the ride into \u003c/span>\u003ca href=\"http://www.disneyfanatic.com/8-facts-pirates-caribbean-ride-thatll-saying-yo-go/\">\u003cspan style=\"font-weight: 400\">Boy Scouts of the Caribbean\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It won’t require the ride to shut down for months or weeks or even a day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead of pretending those pirates are after plastic pies or dull pearls, instead of continuing this narrative that a fat woman is so unlovable that she should welcome being sold into sex-slavery, let’s turn the narrative around completely. Disney ought to \u003ca href=\"https://en.wikipedia.org/wiki/Walt_Disney_Imagineering\">Imagineer\u003c/a> up the biggest, fiercest close-range weapon and place it lovingly into Tiny’s waiting hands. Might I suggest a \u003c/span>\u003ca href=\"http://www.angelfire.com/az3/borthag/FinalSite/armsandarmor.htm\">\u003cspan style=\"font-weight: 400\">swinging flail full of morning stars\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">? Or an elegant scimitar?\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her face will no longer be the face of one so desperate to be touched that she will take it mixed through with violence. Her face will be the face of a woman who knows her worth, delights in her strength and has a plan.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Let’s get one thing straight from the get-go -- Pirates of the Caribbean at Disneyland is a fantastic amusement park ride. After schlepping around Disneyland with the sun beating down on you, feet blistered and sore, senses dulled from the saccharine sweetness of Disney magic, there’s nothing like a 15-minute sit in a bobbing boat, surrounded by cool air and scenes of pirate-y mischief. Fires burn, good men are tortured, and drunkards nap with adorable piggies. Hey, they’re pirates and no one is asking them to be saints. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pirates gonna pirate.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> But part of this ride is out-of-order: the bride-selling scenes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first features a line of captive women -- some elderly, some buck-toothed, most clad in white, all weeping -- tied together at the waist with a thick rope in a sad line. A banner above them proclaims “AUCTION - Take a Wench for a Bride.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The weeping women are background decoration, while the true focus of the scene lands on two other women -- first a lady in red who stands proudly at the head of the roped line some distance away from her unhappy peers. She’s heavily made up and her pert bosom threatens to spill out of her top. She lifts her skirts with one hand to show off her legs, her other hand tangled in her lovely auburn locks. Her face is peaceful, even serene. Of course, she’s not the one for sale at the moment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The woman on the auction block is dressed modestly and holds herself high with a sweet smile on her face. She’s also unapologetically fat -- well proportioned and lovely, but fat. She looks relaxed and proud, even as the auctioneer asks, \"What be I offered for this winsome wench? Stout hearted and corn-fed she be.\" A drunken pirate cries, \"Are ya selling her by the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">pound\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">?\" He’s ignored while the auctioneer instructs her, \"Shift yer cargo, dearie, show 'em your larboard side.\" She complies and turns with the same docile smile.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Fun fact: This “wench” has a name -- \u003c/span>\u003ca href=\"http://pirates.wikia.com/wiki/Pirates_of_the_Caribbean_(Board_game)\">\u003cspan style=\"font-weight: 400\">Tiny\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.)\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the next scene, the results of the auction are clear. Pirates race after their “brides,” looks of terror forever on the faces of the women. Near the end of the scene, riders see Tiny again as the ultimate punchline -- \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">she’s\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the one in hot pursuit of a pirate. As the boat passes by, riders can hear her giggling.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though she is pretty, clean and pleasant (the very essence of \u003c/span>\u003ca href=\"http://everydayfeminism.com/2015/03/12-good-fatty-archetypes/\">\u003cspan style=\"font-weight: 400\">the “good fatty” trope\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), it’s clear to everyone involved in this narrative that Tiny is unlovable and unwantable, even by a marauding crowd of drunken rapists. Once she’s purchased, she’s is still unwanted, yet she is so desperate for physical contact, she pursues a man who other “worthy” women run from screaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At least, this was the version riders encountered until 1997, when there was a major renovation and someone thought the scene would be better if the women were holding food and racing around forever. Post renovation, Tiny chased after a pirate holding a loaf of bread and a sad-looking turkey leg. The line of thinking must have been, “She’s hungry for sex \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">food! There, isn’t that better?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They also removed a part of the scene that featured a woman hiding in a barrel. Her would-be rapist asked riders if they’ve seen a “bewitched maiden in your travels? Oh, she be a lively lassie she were. Oh, I tell you true. It's alright to hoist me colours on the likes of that shy little wench!” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout his speech, he clutched her stolen undergarments. “Favor, keep a weather eye open, mateys. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">I be willing to share I be!\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">\" In 1997, the woman was removed and the pirate’s focus turned to another feast of plastic food. In 2006, the barrel reopened but was filled with a greasy-looking Johnny Depp. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the Johnny Depp update, Disney makes another attempt to modify this chasing scene by putting jewels into the hands of the women. Now Tiny chases a pirate who clutches a cheap-looking red-velvet jewelry box with a few strands of pearls pouring out. She still giggles as she runs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are Disney fans who bristle at the mere idea of changing a classic ride. “The fat bride is canon!” or “This is just another example of PC culture run amok!” But the ride \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">has \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">changed dramatically with the decades. Johnny Depp leering from a barrel is not canon. A musty-smelling fog screen plastered with Bill Nighy’s octopus face is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">not canon\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And Disney knows these scenes with the brides are troubling. Why else would they continue to tweak them?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Luckily, there’s a solution to this mess. It’s elegant, it’s witty and it doesn’t make the ride into \u003c/span>\u003ca href=\"http://www.disneyfanatic.com/8-facts-pirates-caribbean-ride-thatll-saying-yo-go/\">\u003cspan style=\"font-weight: 400\">Boy Scouts of the Caribbean\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It won’t require the ride to shut down for months or weeks or even a day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead of pretending those pirates are after plastic pies or dull pearls, instead of continuing this narrative that a fat woman is so unlovable that she should welcome being sold into sex-slavery, let’s turn the narrative around completely. Disney ought to \u003ca href=\"https://en.wikipedia.org/wiki/Walt_Disney_Imagineering\">Imagineer\u003c/a> up the biggest, fiercest close-range weapon and place it lovingly into Tiny’s waiting hands. Might I suggest a \u003c/span>\u003ca href=\"http://www.angelfire.com/az3/borthag/FinalSite/armsandarmor.htm\">\u003cspan style=\"font-weight: 400\">swinging flail full of morning stars\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">? Or an elegant scimitar?\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her face will no longer be the face of one so desperate to be touched that she will take it mixed through with violence. Her face will be the face of a woman who knows her worth, delights in her strength and has a plan.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bill Cosby Ordered to Stand Trial in Sex Assault Case",
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"content": "\u003cp>She called him “Mr. Cosby” and considered him a trusted friend and mentor.\u003c/p>\n\u003cp>But 20 minutes after Bill Cosby offered her three blue pills and told her to take them with the wine he had set out, Andrea Constand’s legs began to wobble “like jelly,” her eyes went blurry and her head began to throb.\u003c/p>\n\u003cp>Cosby helped her to a couch in his living room, where she later realized he violated her as she lay helplessly in a stupor, she told police in 2005.\u003c/p>\n\u003cp>[contextly_sidebar id=”xneQF7bLBpdeanaPIZsmFGV9z9uvDrDc”]\u003c/p>\n\u003cp>On Tuesday, a judge ordered the 78-year-old Cosby to stand trial on sexual assault charges on the strength of Constand’s decade-old police statement, sparing the former Temple University employee the need to testify at the preliminary hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby could get 10 years in prison if convicted in the case, the only criminal charges brought against the comedian out of the barrage of allegations that he drugged and molested dozens of women over five decades. He is free on $1 million bail.\u003c/p>\n\u003cp>A trial date was not immediately set.\u003c/p>\n\u003cp>Cosby, looking less frail than he did when he was arrested five months ago, seemed unfazed by District Judge Elizabeth McHugh’s decision.\u003c/p>\n\u003cp>“Mr. Cosby is not guilty of any crime, and not one single fact presented by the commonwealth rebuts this truth,” his lawyers said in a statement afterward.\u003c/p>\n\u003cp>The hearing was not the face-to-face confrontation between accuser and accused that some had anticipated: Constand, who is now a massage therapist in Toronto, was not in the courtroom, and the judge ruled that she did not have to testify at this stage. Instead, prosecutors had portions of her 2005 police statement read into the record.\u003c/p>\n\u003cp>While authorities in recent months have paraphrased her account and quoted fragments, this was apparently the first time that large sections of her statement — or Cosby’s, for that matter — were made public.\u003c/p>\n\u003cp>Constand told police that the comedian penetrated her with his fingers and fondled her at his suburban Philadelphia mansion in 2004 after giving her what he said was herbal medication. After taking the pills, she said, “everything was blurry and dizzy.”\u003c/p>\n\u003cp>“I told him, ‘I can’t even talk, Mr. Cosby.’ I started to panic,” she told police.\u003c/p>\n\u003cp>She said she awoke with her bra askew and did not remember undoing it.\u003c/p>\n\u003cp>Cosby’s lawyers argued unsuccessfully that having a police officer read Constand’s statement instead of putting her on the stand would be third-hand testimony and would deprive him of his right to confront his accuser. But reading a police statement into the record is common practice at preliminary hearings in Pennsylvania.\u003c/p>\n\u003cp>The defense also argued that Constand was having a relationship with a married man and that they had engaged in “petting” during her two or three earlier visits to his home.\u003c/p>\n\u003cp>In his own 2005 statement to police, excerpts of which were also read in court, Cosby said Constand never said “no” as he put his hand down her pants. He told police the pills were over-the-counter Benadryl that he takes to help him sleep.\u003c/p>\n\u003cp>Cosby attorney Brian McMonagle also questioned why Constand continued to see the comedian and even returned to the house to meet with him after the alleged assault.\u003c/p>\n\u003cp>In addition, the defense seized on discrepancies in the three police statements Constand gave, including her shifting memory of precisely when the encounter occurred.\u003c/p>\n\u003cp>Cosby settled with Constand for an undisclosed sum in 2006 after testifying behind closed doors about his extramarital affairs, his use of quaaludes to seduce women and his efforts to hide payments to former lovers from his wife.\u003c/p>\n\u003cp>But prosecutors reopened the criminal case last year after dozens of women leveled similar allegations and after Cosby’s sealed testimony in Constand’s lawsuit was made public.\u003c/p>\n\u003cp>Cosby’s lawyers are trying to get the case thrown out, arguing that a previous prosecutor made a binding promise a decade ago that the comic would never be charged.\u003c/p>\n\u003cp>He is also fighting defamation lawsuits across the country for allegedly branding his accusers liars and is trying to get his homeowner insurance to pay his legal bills.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She called him “Mr. Cosby” and considered him a trusted friend and mentor.\u003c/p>\n\u003cp>But 20 minutes after Bill Cosby offered her three blue pills and told her to take them with the wine he had set out, Andrea Constand’s legs began to wobble “like jelly,” her eyes went blurry and her head began to throb.\u003c/p>\n\u003cp>Cosby helped her to a couch in his living room, where she later realized he violated her as she lay helplessly in a stupor, she told police in 2005.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Tuesday, a judge ordered the 78-year-old Cosby to stand trial on sexual assault charges on the strength of Constand’s decade-old police statement, sparing the former Temple University employee the need to testify at the preliminary hearing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby could get 10 years in prison if convicted in the case, the only criminal charges brought against the comedian out of the barrage of allegations that he drugged and molested dozens of women over five decades. He is free on $1 million bail.\u003c/p>\n\u003cp>A trial date was not immediately set.\u003c/p>\n\u003cp>Cosby, looking less frail than he did when he was arrested five months ago, seemed unfazed by District Judge Elizabeth McHugh’s decision.\u003c/p>\n\u003cp>“Mr. Cosby is not guilty of any crime, and not one single fact presented by the commonwealth rebuts this truth,” his lawyers said in a statement afterward.\u003c/p>\n\u003cp>The hearing was not the face-to-face confrontation between accuser and accused that some had anticipated: Constand, who is now a massage therapist in Toronto, was not in the courtroom, and the judge ruled that she did not have to testify at this stage. Instead, prosecutors had portions of her 2005 police statement read into the record.\u003c/p>\n\u003cp>While authorities in recent months have paraphrased her account and quoted fragments, this was apparently the first time that large sections of her statement — or Cosby’s, for that matter — were made public.\u003c/p>\n\u003cp>Constand told police that the comedian penetrated her with his fingers and fondled her at his suburban Philadelphia mansion in 2004 after giving her what he said was herbal medication. After taking the pills, she said, “everything was blurry and dizzy.”\u003c/p>\n\u003cp>“I told him, ‘I can’t even talk, Mr. Cosby.’ I started to panic,” she told police.\u003c/p>\n\u003cp>She said she awoke with her bra askew and did not remember undoing it.\u003c/p>\n\u003cp>Cosby’s lawyers argued unsuccessfully that having a police officer read Constand’s statement instead of putting her on the stand would be third-hand testimony and would deprive him of his right to confront his accuser. But reading a police statement into the record is common practice at preliminary hearings in Pennsylvania.\u003c/p>\n\u003cp>The defense also argued that Constand was having a relationship with a married man and that they had engaged in “petting” during her two or three earlier visits to his home.\u003c/p>\n\u003cp>In his own 2005 statement to police, excerpts of which were also read in court, Cosby said Constand never said “no” as he put his hand down her pants. He told police the pills were over-the-counter Benadryl that he takes to help him sleep.\u003c/p>\n\u003cp>Cosby attorney Brian McMonagle also questioned why Constand continued to see the comedian and even returned to the house to meet with him after the alleged assault.\u003c/p>\n\u003cp>In addition, the defense seized on discrepancies in the three police statements Constand gave, including her shifting memory of precisely when the encounter occurred.\u003c/p>\n\u003cp>Cosby settled with Constand for an undisclosed sum in 2006 after testifying behind closed doors about his extramarital affairs, his use of quaaludes to seduce women and his efforts to hide payments to former lovers from his wife.\u003c/p>\n\u003cp>But prosecutors reopened the criminal case last year after dozens of women leveled similar allegations and after Cosby’s sealed testimony in Constand’s lawsuit was made public.\u003c/p>\n\u003cp>Cosby’s lawyers are trying to get the case thrown out, arguing that a previous prosecutor made a binding promise a decade ago that the comic would never be charged.\u003c/p>\n\u003cp>He is also fighting defamation lawsuits across the country for allegedly branding his accusers liars and is trying to get his homeowner insurance to pay his legal bills.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Yared Zeleke’s ‘Lamb’ Shows a Version of Ethiopia Rarely Seen on Screen",
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"content": "\u003cp>The first scene in Berkeley-based filmmaker Yared Zeleke’s \u003ca href=\"http://www.kimstim.com/lamb.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Lamb\u003c/i>\u003c/a> is a close-up of a hand caressing a woolly brown belly. The hand belongs to Ephraim; the wool to Chuni (meaning “dear”), his lamb and constant companion. Chuni is more than a pet. Since his mother’s death, Ephraim concentrates all of his love and affection on the lamb. Zeleke follows their story together as they journey across the lush, verdant mountains of Ethiopia, Zeleke’s homeland.\u003c/p>\n\u003cp>In person, Zeleke explains that, although the film is semi-autobiographical, he grew up in a “very typical slum neighborhood of Addis Ababa.” In fact, his production company is called Slum Kid Films, but he’s proud of his roots. “I grew up during the time of war with Somalia and Eritrea, during the time of the communist dictatorship, and the great famine of the 1980s. But I had a really happy childhood, and a very colorful childhood.”\u003c/p>\n\u003cfigure id=\"attachment_11611518\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11611518 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/lamb_yared_zeleke_photo_ephraim_brebis.jpg\" alt=\"Rediat Amare as Ephraim, and Chuni the lamb in 'Lamb.'\" width=\"720\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb_yared_zeleke_photo_ephraim_brebis.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb_yared_zeleke_photo_ephraim_brebis-400x211.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Rediat Amare as Ephraim, and Chuni the lamb in ‘Lamb.’ \u003ccite>(Courtesy of Yared Zeleke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ephraim’s story, in contrast, takes place in rural farming villages. When the camera encompasses wide views of peaks and valleys, Ethiopia looks like an undisturbed Eden that’s being captured on film for the first time. Zeleke had two reasons for setting the film in the countryside. “There is the political aspect,” he says, “which is that Ethiopia is not a desert, that it’s mostly green. It’s about reclaiming the image as an Ethiopian, as an African, and [telling] through the story of someone from there. Because it’s been depicted to the world by outsiders for too long.”\u003c/p>\n\u003cp>The second reason is more personal. “The landscape is a major character because so much of Ethiopia’s history, culture, vegetation, way of life, the way we look — everything’s shaped by these mountains,” Zeleke says. “Seventy percent of Africa’s mountains are in Ethiopia. These mountains have made us who we are.” The presence of this landscape adds a mythical quality to a simple story: what will become of Ephraim and Chuni as they settle into the household of distant relatives?\u003c/p>\n\u003cp>Zeleke builds narrative tension in the film by focusing on two equally vulnerable characters, but avoids depicting a culture of extremes. \u003ci>Lamb\u003c/i> is neither sentimental nor brutal, but traverses a range of emotions. “I did want to avoid cliché,” Zeleke says, “but life in most parts of the world, whether it’s rural Ethiopia or urban America, no matter where you go, it’s pretty much similar. There’s always the extreme end of drama and tragedy, and the other extreme end of perpetual happiness; but most of us live somewhere in between.”\u003c/p>\n\u003cfigure id=\"attachment_11611519\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11611519 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/lamb-photo-yared-zeleke-director-copy2.jpg\" alt=\"Yared Zeleke, director and screenwriter of 'Lamb.'\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb-photo-yared-zeleke-director-copy2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb-photo-yared-zeleke-director-copy2-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Yared Zeleke, director and screenwriter of ‘Lamb.’ \u003ccite>(Courtesy of Yared Zeleke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lamb\u003c/i> acts as a corrective for Western audiences used to seeing films set in Africa depicting cruel despots and their victims. “I was just so tired of these films coming out of the African continent,” Zeleke says. “I wanted to show a more realistic portrait, what I know and how I grew up, because I didn’t grow up privileged.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The filmmaker also posits a vision for the future of Ethiopia in an unexpected way, questioning traditional gender roles for Ephraim and his female cousin Sion. “They are the future of Ethiopia,” he says of the characters, “which is a future that is liberated from gender roles, from class divisions, with a more educated future. That’s why I had these kids defy the traditional roles. At the same time, they don’t throw away everything that’s Ethiopian.”\u003c/p>\n\u003cp>While the personal is political in \u003ci>Lamb\u003c/i>, it’s also an affecting work of art. In one wordless scene, the only sound is wind murmuring over a hillside. Ephraim, in a dream, remembers a picnic with his mother, father and Chuni. Together, they share a finite moment of peace. When Ephraim wakes up, that blissful sense of innocence is lost. His tantalizing memory of home remains just beyond his reach. In his film, Zeleke pays tribute to Ethiopia, not as an abstract place or a snippet from the news, but from the inside, as we watch one boy wander away from his lamb and into adulthood.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/149003640?color=ffffff&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Lamb\u003c/strong> plays Friday, May 27 at \u003ca href=\"https://www.facebook.com/events/224441227913089/\" target=\"_blank\" rel=\"noopener\">Red Bay Coffee Headquarters\u003c/a> in Oakland, hosted by \u003ca href=\"http://www.matatufestival.org/#intro\" target=\"_blank\" rel=\"noopener\">Matatu Festival\u003c/a> and FistUp Film Festival. For tickets and information visit \u003ca href=\"https://www.eventbrite.com/e/lamb-a-feature-film-from-ethiopia-tickets-24580603246\" target=\"_blank\" rel=\"noopener\">eventbrite.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first scene in Berkeley-based filmmaker Yared Zeleke’s \u003ca href=\"http://www.kimstim.com/lamb.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Lamb\u003c/i>\u003c/a> is a close-up of a hand caressing a woolly brown belly. The hand belongs to Ephraim; the wool to Chuni (meaning “dear”), his lamb and constant companion. Chuni is more than a pet. Since his mother’s death, Ephraim concentrates all of his love and affection on the lamb. Zeleke follows their story together as they journey across the lush, verdant mountains of Ethiopia, Zeleke’s homeland.\u003c/p>\n\u003cp>In person, Zeleke explains that, although the film is semi-autobiographical, he grew up in a “very typical slum neighborhood of Addis Ababa.” In fact, his production company is called Slum Kid Films, but he’s proud of his roots. “I grew up during the time of war with Somalia and Eritrea, during the time of the communist dictatorship, and the great famine of the 1980s. But I had a really happy childhood, and a very colorful childhood.”\u003c/p>\n\u003cfigure id=\"attachment_11611518\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11611518 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/lamb_yared_zeleke_photo_ephraim_brebis.jpg\" alt=\"Rediat Amare as Ephraim, and Chuni the lamb in 'Lamb.'\" width=\"720\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb_yared_zeleke_photo_ephraim_brebis.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb_yared_zeleke_photo_ephraim_brebis-400x211.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Rediat Amare as Ephraim, and Chuni the lamb in ‘Lamb.’ \u003ccite>(Courtesy of Yared Zeleke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ephraim’s story, in contrast, takes place in rural farming villages. When the camera encompasses wide views of peaks and valleys, Ethiopia looks like an undisturbed Eden that’s being captured on film for the first time. Zeleke had two reasons for setting the film in the countryside. “There is the political aspect,” he says, “which is that Ethiopia is not a desert, that it’s mostly green. It’s about reclaiming the image as an Ethiopian, as an African, and [telling] through the story of someone from there. Because it’s been depicted to the world by outsiders for too long.”\u003c/p>\n\u003cp>The second reason is more personal. “The landscape is a major character because so much of Ethiopia’s history, culture, vegetation, way of life, the way we look — everything’s shaped by these mountains,” Zeleke says. “Seventy percent of Africa’s mountains are in Ethiopia. These mountains have made us who we are.” The presence of this landscape adds a mythical quality to a simple story: what will become of Ephraim and Chuni as they settle into the household of distant relatives?\u003c/p>\n\u003cp>Zeleke builds narrative tension in the film by focusing on two equally vulnerable characters, but avoids depicting a culture of extremes. \u003ci>Lamb\u003c/i> is neither sentimental nor brutal, but traverses a range of emotions. “I did want to avoid cliché,” Zeleke says, “but life in most parts of the world, whether it’s rural Ethiopia or urban America, no matter where you go, it’s pretty much similar. There’s always the extreme end of drama and tragedy, and the other extreme end of perpetual happiness; but most of us live somewhere in between.”\u003c/p>\n\u003cfigure id=\"attachment_11611519\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11611519 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/lamb-photo-yared-zeleke-director-copy2.jpg\" alt=\"Yared Zeleke, director and screenwriter of 'Lamb.'\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb-photo-yared-zeleke-director-copy2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/lamb-photo-yared-zeleke-director-copy2-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Yared Zeleke, director and screenwriter of ‘Lamb.’ \u003ccite>(Courtesy of Yared Zeleke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lamb\u003c/i> acts as a corrective for Western audiences used to seeing films set in Africa depicting cruel despots and their victims. “I was just so tired of these films coming out of the African continent,” Zeleke says. “I wanted to show a more realistic portrait, what I know and how I grew up, because I didn’t grow up privileged.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The filmmaker also posits a vision for the future of Ethiopia in an unexpected way, questioning traditional gender roles for Ephraim and his female cousin Sion. “They are the future of Ethiopia,” he says of the characters, “which is a future that is liberated from gender roles, from class divisions, with a more educated future. That’s why I had these kids defy the traditional roles. At the same time, they don’t throw away everything that’s Ethiopian.”\u003c/p>\n\u003cp>While the personal is political in \u003ci>Lamb\u003c/i>, it’s also an affecting work of art. In one wordless scene, the only sound is wind murmuring over a hillside. Ephraim, in a dream, remembers a picnic with his mother, father and Chuni. Together, they share a finite moment of peace. When Ephraim wakes up, that blissful sense of innocence is lost. His tantalizing memory of home remains just beyond his reach. In his film, Zeleke pays tribute to Ethiopia, not as an abstract place or a snippet from the news, but from the inside, as we watch one boy wander away from his lamb and into adulthood.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/149003640?color=ffffff&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Lamb\u003c/strong> plays Friday, May 27 at \u003ca href=\"https://www.facebook.com/events/224441227913089/\" target=\"_blank\" rel=\"noopener\">Red Bay Coffee Headquarters\u003c/a> in Oakland, hosted by \u003ca href=\"http://www.matatufestival.org/#intro\" target=\"_blank\" rel=\"noopener\">Matatu Festival\u003c/a> and FistUp Film Festival. For tickets and information visit \u003ca href=\"https://www.eventbrite.com/e/lamb-a-feature-film-from-ethiopia-tickets-24580603246\" target=\"_blank\" rel=\"noopener\">eventbrite.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Former U.S. Education Secretary Arne Duncan has been named to the board of directors for the museum that “Star Wars” director George Lucas hopes to build along Chicago’s lakefront.\u003c/p>\n\u003cp>Duncan’s appointment was announced Tuesday and will begin June 1. Duncan was in charge of Chicago Public Schools from 2001 to 2009. The \u003ca href=\"http://trib.in/1WMtkJk\" target=\"_blank\" rel=\"noopener\">Chicago Tribune reports\u003c/a> that Duncan also worked at Ariel Investments where Lucas’ wife, Mellody Hobson, is president.\u003c/p>\n\u003cp>Lucas said Duncan is “well-suited for the museum’s educational and cultural mission.”\u003c/p>\n\u003cp>The plan to build the Lucas Museum of Narrative Arts along Chicago’s Lake Michigan waterfront is on hold due to a parks group’s lawsuit. In the meantime, San Francisco officials have said they’re talking with Lucas about locating the museum there.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cp>Inspiration in Hollywood movies is often a matter of one plucky individual taking on a “system” and winning. For the Brits, such triumphs come deeply embedded in class, region, and national pride, and winning is neither guaranteed nor especially prized. The wonderful 2014 drama \u003cem>Pride\u003c/em> re-enacted a gratifyingly improbable, real-life alliance between gay Londoners and displaced Welsh miners during the bruising national strike of 1984. They lost to Margaret Thatcher, but the thrill lay in the fight and the fellow feeling that grew between two dispossessed communities taking control together.\u003c/p>\n\u003cp>Now comes \u003cem>Dark Horse\u003c/em>, a true tale of a racehorse bred in the backyard of another Welsh mining community depleted by pit closures. Directed by Louise Osmond with heart and a generous dab of slick, the doc plays out as a kind of caper. That’s in part because the the horse’s triumph at the Welsh National goes joyfully against the grain of British horse racing, a rich man’s sport where the poor are let in only to lose their shirts at the bookmakers.\u003c/p>\n\u003cp>https://youtu.be/L6GS3v0iOSU\u003c/p>\n\u003cp>Osmond, who also made a documentary about the discovery of King Richard III’s bones beneath a Leicester parking lot, presses harder than needed on the heroic narrative pedal. But she’s also wise enough to hand the storytelling over to the players, the exuberant, articulate leadership of a syndicate of 23 residents of the village of Cefn Fforest. Members of a working men’s club, they include a tax consultant, a nightclub bouncer who once delivered coal, and Jan, a lively barmaid with enormous drive and prior working experience breeding pigeons and whippets. All have scrambled to make a living since the coal industry collapsed.\u003c/p>\n\u003cp>But they’re a merry bunch of natural raconteurs with a musical Welsh lilt to the telling. Relaxed in front of a camera and thrilled to reminisce about their brief moment in the sun, they tell with pride and how each member of the syndicate paid 10 pounds a week so that a scrappy foal they named Dream Alliance could be bred from workaday parents with no racing genes to speak of. A top-flight trainer was hired to guide the horse to second place in the coveted Hennessy Gold Cup. After Dream suffered a near-fatal injury at Aintree, the group raised the money for experimental stem-cell surgery that allowed him to compete in the Welsh Grand National.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What happened there would likely end up as the climactic scene in most Hollywood versions of Dream Alliance’s career. And it’s true that \u003cem>Dark Horse\u003c/em> relies a bit too heavily on commercial race footage. Yet the movie grows into uplift of a whole other kind. As the villagers tell it, this was about Welsh pride and the solidarity of a community that pulled together to “do something when no one gives you a chance.” If any of the first investors saw Dream Alliance as a business opportunity — and why not, given their circumstances? — that didn’t make it into the movie. In any case, nobody made much money out of the horse’s moment in the sun. The villagers got a big kick out of poaching on elite terrain (“We’re riffraff!” one man crows), basked in their media stardom for a brief moment, then let go with grace and got on with their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Dream Alliance, a natural racer with a lustrous brown coat and a big white blaze streaking down his nose, he’s rapturously photographed by cinematographer Benjamin Kracun at home in the green mists that envelop this village, and finally, in retirement, cantering around a green paddock. As one of the villagers says, they’re happy that he’s happy “doing what he loves — nothing very much.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspiration in Hollywood movies is often a matter of one plucky individual taking on a “system” and winning. For the Brits, such triumphs come deeply embedded in class, region, and national pride, and winning is neither guaranteed nor especially prized. The wonderful 2014 drama \u003cem>Pride\u003c/em> re-enacted a gratifyingly improbable, real-life alliance between gay Londoners and displaced Welsh miners during the bruising national strike of 1984. They lost to Margaret Thatcher, but the thrill lay in the fight and the fellow feeling that grew between two dispossessed communities taking control together.\u003c/p>\n\u003cp>Now comes \u003cem>Dark Horse\u003c/em>, a true tale of a racehorse bred in the backyard of another Welsh mining community depleted by pit closures. Directed by Louise Osmond with heart and a generous dab of slick, the doc plays out as a kind of caper. That’s in part because the the horse’s triumph at the Welsh National goes joyfully against the grain of British horse racing, a rich man’s sport where the poor are let in only to lose their shirts at the bookmakers.\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/L6GS3v0iOSU'\n title='//www.youtube.com/embed/L6GS3v0iOSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Osmond, who also made a documentary about the discovery of King Richard III’s bones beneath a Leicester parking lot, presses harder than needed on the heroic narrative pedal. But she’s also wise enough to hand the storytelling over to the players, the exuberant, articulate leadership of a syndicate of 23 residents of the village of Cefn Fforest. Members of a working men’s club, they include a tax consultant, a nightclub bouncer who once delivered coal, and Jan, a lively barmaid with enormous drive and prior working experience breeding pigeons and whippets. All have scrambled to make a living since the coal industry collapsed.\u003c/p>\n\u003cp>But they’re a merry bunch of natural raconteurs with a musical Welsh lilt to the telling. Relaxed in front of a camera and thrilled to reminisce about their brief moment in the sun, they tell with pride and how each member of the syndicate paid 10 pounds a week so that a scrappy foal they named Dream Alliance could be bred from workaday parents with no racing genes to speak of. A top-flight trainer was hired to guide the horse to second place in the coveted Hennessy Gold Cup. After Dream suffered a near-fatal injury at Aintree, the group raised the money for experimental stem-cell surgery that allowed him to compete in the Welsh Grand National.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What happened there would likely end up as the climactic scene in most Hollywood versions of Dream Alliance’s career. And it’s true that \u003cem>Dark Horse\u003c/em> relies a bit too heavily on commercial race footage. Yet the movie grows into uplift of a whole other kind. As the villagers tell it, this was about Welsh pride and the solidarity of a community that pulled together to “do something when no one gives you a chance.” If any of the first investors saw Dream Alliance as a business opportunity — and why not, given their circumstances? — that didn’t make it into the movie. In any case, nobody made much money out of the horse’s moment in the sun. The villagers got a big kick out of poaching on elite terrain (“We’re riffraff!” one man crows), basked in their media stardom for a brief moment, then let go with grace and got on with their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Dream Alliance, a natural racer with a lustrous brown coat and a big white blaze streaking down his nose, he’s rapturously photographed by cinematographer Benjamin Kracun at home in the green mists that envelop this village, and finally, in retirement, cantering around a green paddock. As one of the villagers says, they’re happy that he’s happy “doing what he loves — nothing very much.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the April 25, 2015 earthquake hit Nepal, I was here in the Bay Area feeling helpless and watching thousands of buildings crumble on the news. The earthquake claimed over \u003ca href=\"http://www.cnn.com/2015/05/10/asia/nepal-earthquake-death-toll/\" target=\"_blank\" rel=\"noopener\">8,000 lives and injured at least 15,000 more\u003c/a>.\u003c/p>\n\u003cp>Amidst this heartbreak, we were in the process of planning the \u003ca href=\"http://himalayanfilmfest.com/sf2015/\" target=\"_blank\" rel=\"noopener\">2015 Himalayan Film Festival\u003c/a>, which became an organizing force for the Himalayan diaspora community to raise funds and provide solace to each other while our families in Nepal were still sleeping on the ground in open fields.\u003c/p>\n\u003cfigure id=\"attachment_11566528\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11566528 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Image-3.jpg\" alt=\"Two children with Smriti Gurung, a Sahayeta board member who resigned her job as a registered nurse in the Bay Area to join rebuilding efforts in Nepal\" width=\"853\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3-768x576.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Two children with Smriti Gurung, a Sahayeta board member who resigned her job as a registered nurse in the Bay Area to join rebuilding efforts in Nepal \u003ccite>(Chewan Rai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May of 2015, I left for Nepal, leaving behind my responsibility as a nurse practitioner in East Oakland, to be in the midst of shattered lives in my home country.\u003c/p>\n\u003cp>Exactly a year ago Thursday, I was in Nepal on my way to provide relief materials to new mothers on the outskirts of Kathmandu when I heard hundreds of people yelling and screaming: “Where is my son, where is my daughter?!” Mothers and fathers left their belongings and ran away from the big cement building next to us. I heard loud rattling noises and people nearby saying, “It’s here again, it’s here again!” It was another earthquake.\u003c/p>\n\u003cp>Questions of who to help and how to help became a recurring chatter in my head, while constant tremors of aftershocks kept reminding me to harness my breath and find peace, despite my fears. I slept outside, just in case another quake came.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly after my arrival in Nepal, I met Chewan Rai, who represents \u003ca href=\"http://www.ytsnepal.org/\" target=\"_blank\" rel=\"noopener\">Youth Thinkers’ Society\u003c/a> (YTS) an organization for young people in Nepal’s capital city of Kathmandu.\u003c/p>\n\u003cfigure id=\"attachment_11566529\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11566529 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/youth-in-action.jpg\" alt=\"Youth in Action coordinates groups of young volunteers in Nepal.\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Youth Thinkers’ Society coordinates groups of young volunteers in Nepal. \u003ccite>(Chewan Rai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was leading youth-based relief efforts in the most remote regions of earthquake-damaged Nepal with over 500 volunteers. These youth were the warriors of the earthquake, risking their lives to reach out to the most vulnerable areas. My fear of being alone in this journey slowly dissipated when I met Rai and these young people. Their armor of courage, compassion and commitment astounded me.\u003c/p>\n\u003cp>I, along with several board members of \u003ca href=\"http://Sahayeta.org\" target=\"_blank\" rel=\"noopener\">Sahayeta\u003c/a>, a Bay Area Nepali alliance, resigned from my job here in Bay Area to serve as a volunteer in the rebuilding efforts in Nepal. Through Sahayeta, we have been able to serve more than 20,000 people with temporary housing, food and warm blankets. More importantly, we are now working on long-term reconstruction by supporting youth groups with their ideas for sustainable reconstruction of infrastructure and the economy.\u003c/p>\n\u003cp>Recent political turmoil, an unofficial embargo from India, and a slow rebuilding policy has halted the process. The rubble of the earthquake has been replaced by thousands of temporary shelters made with zinc roofs which do nothing to stop the cold wind. The pouring rain seeps right in, making this type of shelter uninhabitable. Most of the temporary learning centers at schools are unable to give students safety from rain and cold weather.\u003c/p>\n\u003cfigure id=\"attachment_11566530\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11566530 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/zinc-roof.jpg\" alt=\"Zinc roofs provided for temporary relief\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Zinc roofs provided for temporary relief \u003ccite>(Chewan Rai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I arrived back in the Bay Area from Nepal three weeks ago to prepare for this year’s film festival. This year the festival highlights the suffering and opportunities following the disaster. It is dedicated to the resilience of the Nepalese people and youth involvement in the relief and reconstruction effort.\u003c/p>\n\u003cp>Rai is drinking tea in my living room along with Kshitiz Bhattaria, co-founder of Youth Thinkers’ Society. They arrived last week to sit on a festival Q&A panel. A year after the earthquake, I am hopeful, angry and sad when I think about the rebuilding process in Nepal, but the smiles on these youths’ faces reminds me that perhaps destruction can be a new beginning.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The fourth annual \u003cstrong>Himalayan Film Festival\u003c/strong> runs May 13-14 at the Ninth Street Independent Film Center in San Francisco. For tickets and more information visit \u003ca href=\"http://himalayanfilmfest.com/sf2016/\">himalayanfilmfest.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the April 25, 2015 earthquake hit Nepal, I was here in the Bay Area feeling helpless and watching thousands of buildings crumble on the news. The earthquake claimed over \u003ca href=\"http://www.cnn.com/2015/05/10/asia/nepal-earthquake-death-toll/\" target=\"_blank\" rel=\"noopener\">8,000 lives and injured at least 15,000 more\u003c/a>.\u003c/p>\n\u003cp>Amidst this heartbreak, we were in the process of planning the \u003ca href=\"http://himalayanfilmfest.com/sf2015/\" target=\"_blank\" rel=\"noopener\">2015 Himalayan Film Festival\u003c/a>, which became an organizing force for the Himalayan diaspora community to raise funds and provide solace to each other while our families in Nepal were still sleeping on the ground in open fields.\u003c/p>\n\u003cfigure id=\"attachment_11566528\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11566528 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Image-3.jpg\" alt=\"Two children with Smriti Gurung, a Sahayeta board member who resigned her job as a registered nurse in the Bay Area to join rebuilding efforts in Nepal\" width=\"853\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Image-3-768x576.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Two children with Smriti Gurung, a Sahayeta board member who resigned her job as a registered nurse in the Bay Area to join rebuilding efforts in Nepal \u003ccite>(Chewan Rai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May of 2015, I left for Nepal, leaving behind my responsibility as a nurse practitioner in East Oakland, to be in the midst of shattered lives in my home country.\u003c/p>\n\u003cp>Exactly a year ago Thursday, I was in Nepal on my way to provide relief materials to new mothers on the outskirts of Kathmandu when I heard hundreds of people yelling and screaming: “Where is my son, where is my daughter?!” Mothers and fathers left their belongings and ran away from the big cement building next to us. I heard loud rattling noises and people nearby saying, “It’s here again, it’s here again!” It was another earthquake.\u003c/p>\n\u003cp>Questions of who to help and how to help became a recurring chatter in my head, while constant tremors of aftershocks kept reminding me to harness my breath and find peace, despite my fears. I slept outside, just in case another quake came.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shortly after my arrival in Nepal, I met Chewan Rai, who represents \u003ca href=\"http://www.ytsnepal.org/\" target=\"_blank\" rel=\"noopener\">Youth Thinkers’ Society\u003c/a> (YTS) an organization for young people in Nepal’s capital city of Kathmandu.\u003c/p>\n\u003cfigure id=\"attachment_11566529\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11566529 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/youth-in-action.jpg\" alt=\"Youth in Action coordinates groups of young volunteers in Nepal.\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/youth-in-action-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Youth Thinkers’ Society coordinates groups of young volunteers in Nepal. \u003ccite>(Chewan Rai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was leading youth-based relief efforts in the most remote regions of earthquake-damaged Nepal with over 500 volunteers. These youth were the warriors of the earthquake, risking their lives to reach out to the most vulnerable areas. My fear of being alone in this journey slowly dissipated when I met Rai and these young people. Their armor of courage, compassion and commitment astounded me.\u003c/p>\n\u003cp>I, along with several board members of \u003ca href=\"http://Sahayeta.org\" target=\"_blank\" rel=\"noopener\">Sahayeta\u003c/a>, a Bay Area Nepali alliance, resigned from my job here in Bay Area to serve as a volunteer in the rebuilding efforts in Nepal. Through Sahayeta, we have been able to serve more than 20,000 people with temporary housing, food and warm blankets. More importantly, we are now working on long-term reconstruction by supporting youth groups with their ideas for sustainable reconstruction of infrastructure and the economy.\u003c/p>\n\u003cp>Recent political turmoil, an unofficial embargo from India, and a slow rebuilding policy has halted the process. The rubble of the earthquake has been replaced by thousands of temporary shelters made with zinc roofs which do nothing to stop the cold wind. The pouring rain seeps right in, making this type of shelter uninhabitable. Most of the temporary learning centers at schools are unable to give students safety from rain and cold weather.\u003c/p>\n\u003cfigure id=\"attachment_11566530\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11566530 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/zinc-roof.jpg\" alt=\"Zinc roofs provided for temporary relief\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/zinc-roof-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Zinc roofs provided for temporary relief \u003ccite>(Chewan Rai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I arrived back in the Bay Area from Nepal three weeks ago to prepare for this year’s film festival. This year the festival highlights the suffering and opportunities following the disaster. It is dedicated to the resilience of the Nepalese people and youth involvement in the relief and reconstruction effort.\u003c/p>\n\u003cp>Rai is drinking tea in my living room along with Kshitiz Bhattaria, co-founder of Youth Thinkers’ Society. They arrived last week to sit on a festival Q&A panel. A year after the earthquake, I am hopeful, angry and sad when I think about the rebuilding process in Nepal, but the smiles on these youths’ faces reminds me that perhaps destruction can be a new beginning.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The fourth annual \u003cstrong>Himalayan Film Festival\u003c/strong> runs May 13-14 at the Ninth Street Independent Film Center in San Francisco. For tickets and more information visit \u003ca href=\"http://himalayanfilmfest.com/sf2016/\">himalayanfilmfest.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"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>",
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