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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A federal judge has warned Chicago officials that if the court allows construction to start on \u003cem>Star Wars\u003c/em> creator George Lucas’ lakefront museum, it may have to be torn down later if opponents of the project win their civil case.\u003c/p>\n\u003cp>Judge John Darrah said Wednesday he’ll rule by April 21 on a city request to lift an order barring construction from starting. Lucas wants to build the $400 million, 300,000-square-foot Lucas Museum of Narrative Art along Lake Michigan near Soldier Field.\u003c/p>\n\u003cp>The nonprofit Friends of the Parks is suing, arguing that building the museum at the site violates laws restricting development along the lake.\u003c/p>\n\u003cp>The Chicago Sun-Times reports (http://bit.ly/20EeYYU) that Darrah suggested both sides try to agree on preliminary steps the city could take while the lawsuit continues.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Singer, Actress Vanity, a Prince Protégé, Dies at a Fremont Hospital",
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"content": "\u003cp>Vanity, a Prince protege who renounced her sexy stage persona to become a Christian minister, has died. She was 57.\u003c/p>\n\u003cp>The singer and actress, born Denise Matthews, died Monday at a hospital in Fremont, California, said Gisela Hernandez, a spokeswoman for Washington Hospital Health Care System. Hernandez did not give a cause of death.\u003c/p>\n\u003cp>Matthews’ sister Renay said the death was from complications over longstanding kidney issues.\u003c/p>\n\u003cp>She said Denise Matthews was happy in recent years. “She loved her time in the ’80s, but I think she loved her recent time more, because she had been at peace,” Renay Matthews said.\u003c/p>\n\u003cp>A native of Niagara Falls, Ontario, Matthews first rocketed to stardom through her association with Prince and the 80s girl group Vanity 6. During her time in music, Vanity released four albums with Motown and Warner Brothers and was known for her sultry appearance and sexually-themed music, including “Nasty Girl.” She also appeared in films in the late 1980s and early 1990s, including “The Last Dragon,” ”52 Pick-Up” and “Action Jackson.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Matthews’ health took a turn for the worse in 1992 and she was hospitalized for kidney failure, which she blamed on cocaine and other drug use.\u003c/p>\n\u003cp>“I was sick inside. I was a crack cocaine addict and didn’t even know how to wake up in the morning without some smoke,” she said in an Associated Press story in 1999.\u003c/p>\n\u003cp>She renounced her Hollywood lifestyle and became a Christian minister. She married former Oakland Raider Anthony Smith in 1995 and they divorced the next year.\u003c/p>\n\u003cp>On a \u003ca href=\"https://www.gofundme.com/esiy74\" target=\"_blank\" rel=\"noopener\">GoFundMe page\u003c/a> aimed at helping her pay her medical bills, Matthews said four months ago she had gone through 23 surgeries and was on dialysis three times a week. She said she was also diagnosed with sclerosis encapsulating peritonitis, a rare benign cause of small bowel obstruction.\u003c/p>\n\u003cp>Matthews expressed no regrets about leaving her celebrity lifestyle behind.\u003c/p>\n\u003cp>“When I was Vanity, it was all about me,” she said in 1999. “But when I’m preaching the word of God, it’s Jesus Christ speaking through me. I don’t want people to know who I was back then, but the new creature that God has made me.”\u003c/p>\n\u003cp>Musicians around the world expressed sorrow at Matthews’ death.\u003c/p>\n\u003cp>Prince, who was touring in Australia, dedicated several songs to Matthews during a show, according to the Herald Sun newspaper. They “used to love each other deeply,” Prince said, according to the newspaper. “She loved me for the artist I was, I loved her for the artist she was trying to be.”\u003c/p>\n\u003cp>“Miss you dearly. U are in his arms now, no pain,” tweeted drummer Sheila E., who also worked with Prince.\u003c/p>\n\u003cp>Rapper MC Hammer tweeted that he had just attended church with Matthews on Saturday.\u003c/p>\n\u003cp>“Vanity left church after giving a beautiful testimony of appreciation for her Pastors & Thanks to her savior Jesus, I was there,” he tweeted. “I was looking for her Sunday and the announcement came that she fell ill during the night.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Hillel Italie contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"description": "Vanity, a Prince protege who renounced her sexy stage persona to become a Christian minister, has died. She was 57. The singer and actress, born Denise Matthews, died Monday at a hospital in Fremont, California, said Gisela Hernandez, a spokeswoman for Washington Hospital Health Care System. Hernandez did not give a cause of death. Matthews' sister Renay said the death was from complications over longstanding kidney issues. She said Denise Matthews was happy in recent years. "She loved her time in the '80s, but I think she loved her recent time more, because she had been at peace," Renay Matthews",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vanity, a Prince protege who renounced her sexy stage persona to become a Christian minister, has died. She was 57.\u003c/p>\n\u003cp>The singer and actress, born Denise Matthews, died Monday at a hospital in Fremont, California, said Gisela Hernandez, a spokeswoman for Washington Hospital Health Care System. Hernandez did not give a cause of death.\u003c/p>\n\u003cp>Matthews’ sister Renay said the death was from complications over longstanding kidney issues.\u003c/p>\n\u003cp>She said Denise Matthews was happy in recent years. “She loved her time in the ’80s, but I think she loved her recent time more, because she had been at peace,” Renay Matthews said.\u003c/p>\n\u003cp>A native of Niagara Falls, Ontario, Matthews first rocketed to stardom through her association with Prince and the 80s girl group Vanity 6. During her time in music, Vanity released four albums with Motown and Warner Brothers and was known for her sultry appearance and sexually-themed music, including “Nasty Girl.” She also appeared in films in the late 1980s and early 1990s, including “The Last Dragon,” ”52 Pick-Up” and “Action Jackson.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Matthews’ health took a turn for the worse in 1992 and she was hospitalized for kidney failure, which she blamed on cocaine and other drug use.\u003c/p>\n\u003cp>“I was sick inside. I was a crack cocaine addict and didn’t even know how to wake up in the morning without some smoke,” she said in an Associated Press story in 1999.\u003c/p>\n\u003cp>She renounced her Hollywood lifestyle and became a Christian minister. She married former Oakland Raider Anthony Smith in 1995 and they divorced the next year.\u003c/p>\n\u003cp>On a \u003ca href=\"https://www.gofundme.com/esiy74\" target=\"_blank\" rel=\"noopener\">GoFundMe page\u003c/a> aimed at helping her pay her medical bills, Matthews said four months ago she had gone through 23 surgeries and was on dialysis three times a week. She said she was also diagnosed with sclerosis encapsulating peritonitis, a rare benign cause of small bowel obstruction.\u003c/p>\n\u003cp>Matthews expressed no regrets about leaving her celebrity lifestyle behind.\u003c/p>\n\u003cp>“When I was Vanity, it was all about me,” she said in 1999. “But when I’m preaching the word of God, it’s Jesus Christ speaking through me. I don’t want people to know who I was back then, but the new creature that God has made me.”\u003c/p>\n\u003cp>Musicians around the world expressed sorrow at Matthews’ death.\u003c/p>\n\u003cp>Prince, who was touring in Australia, dedicated several songs to Matthews during a show, according to the Herald Sun newspaper. They “used to love each other deeply,” Prince said, according to the newspaper. “She loved me for the artist I was, I loved her for the artist she was trying to be.”\u003c/p>\n\u003cp>“Miss you dearly. U are in his arms now, no pain,” tweeted drummer Sheila E., who also worked with Prince.\u003c/p>\n\u003cp>Rapper MC Hammer tweeted that he had just attended church with Matthews on Saturday.\u003c/p>\n\u003cp>“Vanity left church after giving a beautiful testimony of appreciation for her Pastors & Thanks to her savior Jesus, I was there,” he tweeted. “I was looking for her Sunday and the announcement came that she fell ill during the night.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Hillel Italie contributed to this story.\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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"slug": "no-justice-without-us-the-bay-areas-legacy-of-art-activism",
"title": "No Justice Without Us: The Bay Area's Legacy of Art Activism",
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"headTitle": "No Justice Without Us: The Bay Area’s Legacy of Art Activism | KQED",
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"content": "\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/128523144\u003c/p>\n\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIH-t2aLFog\u003c/p>\n\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\n\u003cp>https://vimeo.com/152916274\u003c/p>\n\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FZkXZQGbnJs\u003c/p>\n\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"title": "No Justice Without Us: The Bay Area's Legacy of Art Activism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\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/vIH-t2aLFog'\n title='//www.youtube.com/embed/vIH-t2aLFog'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\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/FZkXZQGbnJs'\n title='//www.youtube.com/embed/FZkXZQGbnJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was Tuesday evening, two days after Beyoncé’s dramatic halftime Superbowl Sunday performance, when the Oakland community gathered at Grand Lake Theater to watch a screening of PBS’s upcoming documentary, \u003cem>Black Panthers: Vanguard of the Revolution.\u003c/em> \u003c/p>\n\u003cp>There was a palpable electric buzz (and debate) about what Beyoncé did in front of nearly 112 million viewers: declaring her love of being a black woman while dancing with afro’ed backup dancers clad in Black Panther gear. Beyoncé had managed to create a perfect pop culture segue for the dialogue slated for this evening, asserting not only the historical relevance of \u003cem>Black Panthers: Vanguard of the Revolution,\u003c/em> but also why the themes that drove the movement then are still so painfully relevant to our discussions of race relations and gender today.\u003c/p>\n\u003cp>The night opened with a powerful musical performance by Antique Naked Soul, and remarks from Susie Hernandez (KQED, Director of Programming), Noland Walker (ITVS, Senior Content Director), Maira Benjamin (Pandora, Director of Engineering) and Lynette Gibson McElhaney (Oakland City Councilwoman, District 3). Hernandez and Walker both touched on how public media provides both an opportunity and a platform for communities to tell and share their own stories in an authentic way. Benjamin reminded audiences that the theme of the evening was “revolution” and highlighted her role as a woman of color in technology. Her message, “Bring revolution to all the spaces you represent,” was met with cheers and applause from the crowd. McElhaney was hopeful about how elections and civic engagement can trigger change and she encouraged people to stay informed and embrace the possibilities. \u003c/p>\n\u003cp>Next, eight young black women walked in a line to the front of the theater, wearing t-shirts emblazoned with the words “The Black Woman is God.” Members of San Francisco-based Youth Speaks, the Black Sheroes delivered the most rousing performance of the night. The crowds whooped and hollered and shot their fists into the air. Older generations, including former Black Panther Party members, nodded and bobbed their heads as the women made it plain: our people are still in pain, and injustice is still alive. The performance, a mixture of spoken word and singing, started with a rendition of “Sometimes I Feel Like A Motherless Child” and ended as the women roared out their love of being black women in the face of police brutality, intolerance and racism. \u003c/p>\n\u003cfigure id=\"attachment_11328508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg\" alt=\"Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11328508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins \u003ccite>(Photo: Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the film screening, Ashara Ekundayo (Impact Hub, Chief Content Officer) moderated a dialogue with Ericka Huggins, a former political prisoner and Black Panther Party leader, and Cat Brooks, #BlackLivesMatter Bay Area member and founder of the Anti Police-Terror Project. Ekundayo opened with a brief moment of silence to honored activists who died after giving their lives to revolutionary causes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Asked by Ekundayo to describe the Black Panther Party in three words, Huggins replied: “Commitment. Love. People.” She recalled being a young girl, attending the March on Washington for Jobs and Freedom in 1963, one of the largest political rallies in American history. It was a life-changing moment that defined her activism. \u003c/p>\n\u003cp>“A vow arose in my heart,” Huggins recalled, “that I will serve people for the rest of my life.” \u003c/p>\n\u003cp>In describing her own personal commitment over the years, as a leader in the Party and an educator in Oakland, she gave a shout-out to a special audience member that she had met earlier that evening: 7-year-old Vivian, the precocious daughter of KQED’s Hernandez. “When I meet young girls like Vivian, I realize: I don’t have the right to be tired.”\u003c/p>\n\u003cp>Brooks chose her three words carefully: “Power. Passion. Beauty,” adding, “Black people are damaged, tired, and traumatized.” Her hope lies in the current wave of activism. For the first time, thanks largely to the Black Lives Matter movement, there has been “Lots of talk about self-care in activism.” There is a long journey ahead, Brooks asserted, and “We’re figuring it out as we stumble along,” adding that progress can be sustained if activists take time to take to practice self-care as they fight for their communities.\u003c/p>\n\u003cp>The unspoken theme of the night, judging by those who were doing the speaking, was the role of women in activism. Brooks proudly declared that there was a feminine current running through today’s movements in the black community. Huggins attributed this to the “legacy of feminine principles” in the Black Panther Party. As she spoke, Tarika Lewis, the first woman to join the Party, stood up in the crowd with her fist raised. \u003c/p>\n\u003cp>“The FBI destroyed the men in the Black Panther Party – Newton, Seale, and many others – but they forgot something: us women,” declared Huggins. She noted the bond shared by the women in the Party, who ran the revolution from beginning to end, saying, “We were connected by love and service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before the lights dimmed and the screening of \u003cem>Black Panthers: Vanguard of the Revolution\u003c/em> began, the audience was left with some parting wisdom: Be with one another. Practice non-judging awareness. Work in coalition and communion. Think globally. For this community, the evening captured not only the Party’s legacy but also the demands for justice that are still painfully relevant today. From a small film screening to the largest stage in a football stadium, it is evident that 50 years later the revolutionary spirit of the Black Panther Party continues to live on in the impassioned communities and people they inspired.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was Tuesday evening, two days after Beyoncé’s dramatic halftime Superbowl Sunday performance, when the Oakland community gathered at Grand Lake Theater to watch a screening of PBS’s upcoming documentary, \u003cem>Black Panthers: Vanguard of the Revolution.\u003c/em> \u003c/p>\n\u003cp>There was a palpable electric buzz (and debate) about what Beyoncé did in front of nearly 112 million viewers: declaring her love of being a black woman while dancing with afro’ed backup dancers clad in Black Panther gear. Beyoncé had managed to create a perfect pop culture segue for the dialogue slated for this evening, asserting not only the historical relevance of \u003cem>Black Panthers: Vanguard of the Revolution,\u003c/em> but also why the themes that drove the movement then are still so painfully relevant to our discussions of race relations and gender today.\u003c/p>\n\u003cp>The night opened with a powerful musical performance by Antique Naked Soul, and remarks from Susie Hernandez (KQED, Director of Programming), Noland Walker (ITVS, Senior Content Director), Maira Benjamin (Pandora, Director of Engineering) and Lynette Gibson McElhaney (Oakland City Councilwoman, District 3). Hernandez and Walker both touched on how public media provides both an opportunity and a platform for communities to tell and share their own stories in an authentic way. Benjamin reminded audiences that the theme of the evening was “revolution” and highlighted her role as a woman of color in technology. Her message, “Bring revolution to all the spaces you represent,” was met with cheers and applause from the crowd. McElhaney was hopeful about how elections and civic engagement can trigger change and she encouraged people to stay informed and embrace the possibilities. \u003c/p>\n\u003cp>Next, eight young black women walked in a line to the front of the theater, wearing t-shirts emblazoned with the words “The Black Woman is God.” Members of San Francisco-based Youth Speaks, the Black Sheroes delivered the most rousing performance of the night. The crowds whooped and hollered and shot their fists into the air. Older generations, including former Black Panther Party members, nodded and bobbed their heads as the women made it plain: our people are still in pain, and injustice is still alive. The performance, a mixture of spoken word and singing, started with a rendition of “Sometimes I Feel Like A Motherless Child” and ended as the women roared out their love of being black women in the face of police brutality, intolerance and racism. \u003c/p>\n\u003cfigure id=\"attachment_11328508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg\" alt=\"Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11328508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins \u003ccite>(Photo: Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the film screening, Ashara Ekundayo (Impact Hub, Chief Content Officer) moderated a dialogue with Ericka Huggins, a former political prisoner and Black Panther Party leader, and Cat Brooks, #BlackLivesMatter Bay Area member and founder of the Anti Police-Terror Project. Ekundayo opened with a brief moment of silence to honored activists who died after giving their lives to revolutionary causes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Asked by Ekundayo to describe the Black Panther Party in three words, Huggins replied: “Commitment. Love. People.” She recalled being a young girl, attending the March on Washington for Jobs and Freedom in 1963, one of the largest political rallies in American history. It was a life-changing moment that defined her activism. \u003c/p>\n\u003cp>“A vow arose in my heart,” Huggins recalled, “that I will serve people for the rest of my life.” \u003c/p>\n\u003cp>In describing her own personal commitment over the years, as a leader in the Party and an educator in Oakland, she gave a shout-out to a special audience member that she had met earlier that evening: 7-year-old Vivian, the precocious daughter of KQED’s Hernandez. “When I meet young girls like Vivian, I realize: I don’t have the right to be tired.”\u003c/p>\n\u003cp>Brooks chose her three words carefully: “Power. Passion. Beauty,” adding, “Black people are damaged, tired, and traumatized.” Her hope lies in the current wave of activism. For the first time, thanks largely to the Black Lives Matter movement, there has been “Lots of talk about self-care in activism.” There is a long journey ahead, Brooks asserted, and “We’re figuring it out as we stumble along,” adding that progress can be sustained if activists take time to take to practice self-care as they fight for their communities.\u003c/p>\n\u003cp>The unspoken theme of the night, judging by those who were doing the speaking, was the role of women in activism. Brooks proudly declared that there was a feminine current running through today’s movements in the black community. Huggins attributed this to the “legacy of feminine principles” in the Black Panther Party. As she spoke, Tarika Lewis, the first woman to join the Party, stood up in the crowd with her fist raised. \u003c/p>\n\u003cp>“The FBI destroyed the men in the Black Panther Party – Newton, Seale, and many others – but they forgot something: us women,” declared Huggins. She noted the bond shared by the women in the Party, who ran the revolution from beginning to end, saying, “We were connected by love and service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before the lights dimmed and the screening of \u003cem>Black Panthers: Vanguard of the Revolution\u003c/em> began, the audience was left with some parting wisdom: Be with one another. Practice non-judging awareness. Work in coalition and communion. Think globally. For this community, the evening captured not only the Party’s legacy but also the demands for justice that are still painfully relevant today. From a small film screening to the largest stage in a football stadium, it is evident that 50 years later the revolutionary spirit of the Black Panther Party continues to live on in the impassioned communities and people they inspired.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Hail, Caesar!,\u003c/em> the 17th feature from indefatigable screenwriting, directing and (pseudo-nonamously) editing brothers Joel and Ethan Coen, is rated PG-13 for “suggestive content and smoking.” But save for one word — \u003cem>sodomy\u003c/em> — and a few less clinical terms that have long been allowed on network TV, this genial farce set in 1950s Hollywood could’ve almost passed muster under the Hays Code. It follows a frantic couple of days in the life of Eddie Mannix, head of Physical Production for Capitol Pictures. Any resemblance between this character and the historical Eddie Mannix, a legendary “fixer” for MGM Studios during Hollywood’s Golden Age, is purely … well, the Coens would prefer you not ask such boring questions. But for what it’s worth, movie-Mannix’s boss \u003cem>also\u003c/em> shares his name with a real-life showbiz mogul of antiquity, Nick Schenck.\u003c/p>\n\u003cp>While biographers and historians have \u003ca href=\"http://www.slate.com/articles/podcasts/you_must_remember_this/2015/11/eddie_mannix_mgm_s_fixer_and_the_scandal_of_patricia_douglas.html\">linked the real Mannix to any number of dark deeds\u003c/a>, his \u003cem>Hail, Caesar! \u003c/em>alter ego is, surprisingly, not such a bad guy. As embodied by Josh Brolin, a leading man’s man whose rugged charm was on full display in the Coens’ 2007 best picture-winner \u003cem>No Country for Old Men,\u003c/em> Eddie is wily enough to succeed in pictures, but decent so far as it goes: hardworking, fair to his employees, warm and respectful with his wife, a pragmatist with a conscience. (He’s availing himself of the Catholic sacrament of penance when we meet him, in point of fact.) But he’s no pushover: He keeps Capitol Pictures pictures on schedule and on budget, and Capitol Pictures stars out of jail and out of the papers. If that means manipulating reporters, or making the occasional on-the-spot cash contribution to the Patrolmen’s Benevolent Association, well, that’s life in the Dream Factory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jfyaZ1FFZrM\u003c/p>\n\u003cp>Eddie finds his considerable problem-solving acumen tested when Baird Whitlock (game George Clooney, in his fourth Coen Bros. joint), the affable-but-dim star of Capitol’s in-production religious epic \u003cem>Hail, Caesar!\u003c/em>, is kidnapped. (Yes, \u003cem>Raising Arizona, Fargo\u003c/em> and \u003cem>The Big Lebowski\u003c/em> all turned on kidnappings, too. One suspects that both Coens carry ransom insurance.)\u003c/p>\n\u003cp>While Eddie hustles to recover his actor and to keep the incident under wraps, other production emergencies vie for his attention. For one thing, DeeAnna Moran (Scarlett Johnansson), the star of family “aquatic pictures” featuring Busby Berkeley-style choreography, is twice-divorced and the mother of a child by a third man — which means Eddie needs her to choose a spouse, pronto, for image-maintenance purposes. (After she’s pried out of her mermaid prosthetic, she gripes, “I don’t think I’m gonna fit back in that fish ass again.”) Then there’s the matter of British director Laurence Laurentz — played by Ralph Fiennes, whose walkabout into comedy in recent years is a boon to all humankind. Eddie has forced Laurentz to cast singing cowboy Hobie Doyle (Alden Ehrenreich, holding his own among much more famous company) in his Noel Coward-style Broadway adaptation \u003cem>Merrily We Dance\u003c/em>. Turns out Hobie isn’t nearly as comfortable gliding across a drawing room in a tuxedo as he is performing stunts on horseback.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While fighting all these fires, Eddie is also mulling a generous job offer from Lockheed Aircraft. More money, saner hours and, says the headhunter, a piece of the future. After all, who’s going to keep going to the pictures once every American home has a television set?\u003c/p>\n\u003cp>This frantic action pauses from time to time to allow the Coens to clear their throats on subjects that only filmmakers as frugal and revered as these two may touch: Whitlock soaks up his captors’ lectures on Marxism like a sponge — they’re a cabal of disgruntled screenwriters, naturally — while Eddie wrangles the panel of clerics and rabbis he’s convened to reassure him that \u003cem>Hail, Caesar!\u003c/em> will not offend any person of faith with its depiction of Jesus Christ. (Whether the extras hanging on crucifixes are entitled to hardship pay is the kind of matter Eddie can resolve himself.) But whatever point the Coens are trying to make about the pageantry of belief systems, they never sacrifice buoyancy to make it.\u003c/p>\n\u003cp>Appropriately for a yarn about The Industry, some of the best scenes hail from the films within the film. The best of these is \u003cem>No Dames!\u003c/em>, a sailors-on-shore-leave musical starring Bert Gurney (Channing Tatum, who is really a pretty good dancer. Who knew?). This long segment is even more homoerotic than the excerpts from \u003cem>Hail, Caesar!\u003c/em> — the Capitol Pictures Bible epic, I mean — and is easily the most delightful production number in a major motion picture since the Coens’ lifelong pal Sam Raimi shoehorned one into \u003cem>Spider-Man 3\u003c/em>. It’ll also make you miss the days long before the Age of Ultron, when movie titles had exclamation points instead of colons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hail, Caesar!\u003c/em> doesn’t have the weirdness of its authors’ other Old Hollywood film, 1991’s \u003cem>Barton Fink\u003c/em> (which also concerned the fictitious Capitol Pictures), or the weary soul of their prior feature, 2013’s haunting \u003cem>Inside Llewyn Davis\u003c/em>. Its pleasures are piecemeal and peculiar, like the way Sir Michael Gambon, the film’s narrator, elongates the phrase “in Westerly Malibu.” Or the way Tilda Swinton plays a pair of identical — and fiercely competitive — twin gossip columnists. Or the way that a work print of \u003cem>Hail, Caesar!\u003c/em> includes a title card reading DIVINE PRESENCE TO BE SHOT. They’re not the types to go fumbling for profundity, those Coens. Profoundly funny will do.\u003c/p>\n\n",
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"content": "\u003cp>Apple co-founder Steve Wozniak had a front row seat as the personal computer began to reshape society. So it made perfect sense to him to bring a convention meshing technology with pop culture to Silicon Valley.\u003c/p>\n\u003cp>The convergence will occur March 18-20 in San Jose, California, with the debut of Silicon Valley Comic Con. It’s a new twist on an idea that has brought together fans of science fiction, fantasy and superheroes at packed shows held around the world for years.\u003c/p>\n\u003cp>“I don’t like doing the same thing as everyone else,” Wozniak told The Associated Press Wednesday. So he teamed with four other partners to try something slightly different.\u003c/p>\n\u003cp>Throwing technology into the mix should ratchet up the nerd vibe that ripples through all Comic Cons. A sold-out crowd of about 30,000 engineers, entrepreneurs and pop-culture connoisseurs is expected to swarm into the Silicon Valley event.\u003c/p>\n\u003cp>The agenda includes a panel devoted to the quantum realm and an “app alley” featuring products from technology startups. The marquee attractions on the entertainment side include William Shatner from the original \u003cem>Star Trek\u003c/em> and \u003cem>Back To The Future\u003c/em> stars Michael J. Fox, Christopher Lloyd and Lea Thompson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wozniak, 65, is confident the hybrid convention will be a hit.\u003c/p>\n\u003cp>“The emotions we have for technology now are the same as we get for movies, celebrities and the whole pop culture side of our lives,” he said.\u003c/p>\n\u003cp>That veneration of technology helped turn Wozniak’s late partner, Steve Jobs, into an icon — and his October 2011 death into a worldwide wake.\u003c/p>\n\u003cp>Wozniak himself has become better known through recent movies that retold the story of Jobs and Apple, as well as his guest appearances on TV shows such as \u003cem>Dancing With The Stars\u003c/em> and “The Big Bang Theory.” He now works at a Silicon Valley startup, Primary Data, and also spends about a third of the year on the road, mostly giving speeches and making other public appearances.\u003c/p>\n\u003cp>“Everyone I go in the world, people just say, ‘Thank you, thank you,’ even if they don’t happen to own an Apple product,” Wozniak said. “They are just saying thank you for being a part of it all and want to show their love.”\u003c/p>\n\u003cp>Silicon Valley Comic Con is the first major event that Wozniak has backed since the early 1980s. While on leave from Apple following an airplane crash, he financed the US Festivals, a pair of three-day concerts held in the southern California desert. The events, which featured top acts such as The Police, The Talking Heads, The Clash, David Bowie and Fleetwood Mac, drew massive crowds yet still managed to lose about $26 million, according to Wozniak.\u003c/p>\n\u003cp>He said that won’t happen at Silicon Valley Comic Con, which has already sold enough tickets to turn a profit. Some tickets, which cost from $25 to $99, are still available, though a sold-out crowd of about 30,000 people is expected.\u003c/p>\n\u003cp>“Ever since starting Apple, I have had the mentality that you should make a profit,” Wozniak said. “That was Steve Jobs’ big role (at Apple). He believed you start a company to make a profit because that is the only way you are going to go on to build other great things.”\u003c/p>\n\u003cp>Jobs frowned upon Wozniak’s involvement in the US Festivals and probably wouldn’t have thought much of Silicon Valley Comic Con, according to Wozniak.\u003c/p>\n\u003cp>“He would have been at it in his very early days, but people change and personalities settle in,” Wozniak said. “He became more of the businessman taking the world forward with things like the Apple computer.”\u003c/p>\n\u003cp>Although Apple hasn’t introduced another hit product since Jobs’ death, Wozniak doesn’t believe the company has lost the “innovation magic” that hatched the iPod, iPhone and iPad during the final decade of its late CEO’s tenure.\u003c/p>\n\u003cp>“Apple is in great shape to innovate for the next 200 years, just with their cash (totaling $216 billion),” he said. “That buys a lot of failure. One of the things about innovation is you have to risk failure.”\u003c/p>\n\u003cp>Wozniak is hoping Silicon Valley Comic Con inspires some of the engineers and other entrepreneurs in attendance to gamble on ideas that may seem a little kooky.\u003c/p>\n\u003cp>“A lot of science fiction starts out as a dream in your head where you go, ‘Wow, that would be cool,’ and then you have the actual technology people turn it into reality,” Wozniak said. “That is the process of creation.”\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>Apple co-founder Steve Wozniak had a front row seat as the personal computer began to reshape society. So it made perfect sense to him to bring a convention meshing technology with pop culture to Silicon Valley.\u003c/p>\n\u003cp>The convergence will occur March 18-20 in San Jose, California, with the debut of Silicon Valley Comic Con. It’s a new twist on an idea that has brought together fans of science fiction, fantasy and superheroes at packed shows held around the world for years.\u003c/p>\n\u003cp>“I don’t like doing the same thing as everyone else,” Wozniak told The Associated Press Wednesday. So he teamed with four other partners to try something slightly different.\u003c/p>\n\u003cp>Throwing technology into the mix should ratchet up the nerd vibe that ripples through all Comic Cons. A sold-out crowd of about 30,000 engineers, entrepreneurs and pop-culture connoisseurs is expected to swarm into the Silicon Valley event.\u003c/p>\n\u003cp>The agenda includes a panel devoted to the quantum realm and an “app alley” featuring products from technology startups. The marquee attractions on the entertainment side include William Shatner from the original \u003cem>Star Trek\u003c/em> and \u003cem>Back To The Future\u003c/em> stars Michael J. Fox, Christopher Lloyd and Lea Thompson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wozniak, 65, is confident the hybrid convention will be a hit.\u003c/p>\n\u003cp>“The emotions we have for technology now are the same as we get for movies, celebrities and the whole pop culture side of our lives,” he said.\u003c/p>\n\u003cp>That veneration of technology helped turn Wozniak’s late partner, Steve Jobs, into an icon — and his October 2011 death into a worldwide wake.\u003c/p>\n\u003cp>Wozniak himself has become better known through recent movies that retold the story of Jobs and Apple, as well as his guest appearances on TV shows such as \u003cem>Dancing With The Stars\u003c/em> and “The Big Bang Theory.” He now works at a Silicon Valley startup, Primary Data, and also spends about a third of the year on the road, mostly giving speeches and making other public appearances.\u003c/p>\n\u003cp>“Everyone I go in the world, people just say, ‘Thank you, thank you,’ even if they don’t happen to own an Apple product,” Wozniak said. “They are just saying thank you for being a part of it all and want to show their love.”\u003c/p>\n\u003cp>Silicon Valley Comic Con is the first major event that Wozniak has backed since the early 1980s. While on leave from Apple following an airplane crash, he financed the US Festivals, a pair of three-day concerts held in the southern California desert. The events, which featured top acts such as The Police, The Talking Heads, The Clash, David Bowie and Fleetwood Mac, drew massive crowds yet still managed to lose about $26 million, according to Wozniak.\u003c/p>\n\u003cp>He said that won’t happen at Silicon Valley Comic Con, which has already sold enough tickets to turn a profit. Some tickets, which cost from $25 to $99, are still available, though a sold-out crowd of about 30,000 people is expected.\u003c/p>\n\u003cp>“Ever since starting Apple, I have had the mentality that you should make a profit,” Wozniak said. “That was Steve Jobs’ big role (at Apple). He believed you start a company to make a profit because that is the only way you are going to go on to build other great things.”\u003c/p>\n\u003cp>Jobs frowned upon Wozniak’s involvement in the US Festivals and probably wouldn’t have thought much of Silicon Valley Comic Con, according to Wozniak.\u003c/p>\n\u003cp>“He would have been at it in his very early days, but people change and personalities settle in,” Wozniak said. “He became more of the businessman taking the world forward with things like the Apple computer.”\u003c/p>\n\u003cp>Although Apple hasn’t introduced another hit product since Jobs’ death, Wozniak doesn’t believe the company has lost the “innovation magic” that hatched the iPod, iPhone and iPad during the final decade of its late CEO’s tenure.\u003c/p>\n\u003cp>“Apple is in great shape to innovate for the next 200 years, just with their cash (totaling $216 billion),” he said. “That buys a lot of failure. One of the things about innovation is you have to risk failure.”\u003c/p>\n\u003cp>Wozniak is hoping Silicon Valley Comic Con inspires some of the engineers and other entrepreneurs in attendance to gamble on ideas that may seem a little kooky.\u003c/p>\n\u003cp>“A lot of science fiction starts out as a dream in your head where you go, ‘Wow, that would be cool,’ and then you have the actual technology people turn it into reality,” Wozniak said. “That is the process of creation.”\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": "Kim Novak Opens Up: 'I Think I'm Appreciated More Now'",
"headTitle": "Kim Novak Opens Up: ‘I Think I’m Appreciated More Now’ | KQED",
"content": "\u003cp>There’s a line spoken by Kim Novak in the Alfred Hitchcock masterpiece \u003cem>Vertigo\u003c/em> that every devotee of the film knows by heart: “If I let you change me, will that do it? If I do what you tell me, will you love me?”\u003c/p>\n\u003cp>In reality, the plea was all too personal for Novak, the platinum blonde who during a string of hit films in the 1950s and ’60s endured Hollywood’s constant makeovers: to her hair, her clothes, her figure. She became, to critics and audiences, a sex symbol — and little more.\u003c/p>\n\u003cp>But Novak, who appears this weekend in a pre-concert Q&A at the \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2015-2016/Film-Vertigo\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony’s live-screening performance\u003c/a> of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, would prevail over tyranny and adversity to create a phenomenal body of film work that deserves a serious reassessment.\u003c/p>\n\u003cp>As for being a sex symbol? It’s a reputation, she says, that she always fought against.\u003c/p>\n\u003cfigure id=\"attachment_11316688\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KimNovak.Publicity.jpg\" alt=\"Kim Novak in a publicity shot for 'Vertigo,' 1958.\" width=\"600\" height=\"899\" class=\"size-full wp-image-11316688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Publicity.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Publicity-400x600.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in a publicity shot for ‘Vertigo,’ 1958.\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I didn’t look at all like myself’\u003c/h3>\n\u003cp>“When I first went to the studio,” Novak tells me over the phone from her ranch in rural Oregon, “they’d put me in the makeup chair and they’d say, ‘Well, now, let’s see, I think we’ll give you a Joan Crawford mouth, and we’ll give you Lana Turner hair.’ By the time I got out of the makeup chair, I didn’t look at all like myself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Novak, then 20, rebelled — as much as one could and still be in pictures, anyway. She famously refused Columbia studio boss Harry Cohn’s demand that she change her name to “Kit Marlowe” (born in Chicago as Marilyn Pauline Novak, the “Kim” was a compromise), and before her first screen test she ran into the ladies’ room to wipe away the layers of makeup his team had applied. “I had to try to find remnants of myself underneath all this makeup,” she says. “I remember doing this all through my early career, trying to undo what they were trying to put on me.”\u003c/p>\n\u003cp>In hindsight, Cohn’s drastic makeovers were perfect practice for Novak’s role in \u003cem>Vertigo\u003c/em> as Judy, a woman subjected to Jimmy Stewart’s obsession and his strict demands for her physical transformation. “That’s of course what \u003cem>Vertigo\u003c/em> was,” she says. “I mean, Judy was always saying ‘Love \u003cem>me\u003c/em>, love who I am.’ But she was always reaching out, as I was, always reaching out to be seen as more than that sex symbol.”\u003c/p>\n\u003cfigure id=\"attachment_11316695\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kim.Judy_.jpg\" alt=\"Kim Novak as Judy in 'Vertigo,' 1958.\" width=\"1100\" height=\"615\" class=\"size-full wp-image-11316695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-960x537.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak as Judy in ‘Vertigo,’ 1958.\u003c/figcaption>\u003c/figure>\n\u003cp>That career-defining role, perhaps, was also perfect practice for being a female star in a male-dominated world.\u003c/p>\n\u003cp>“For women in general,” she sighs, “men are always trying to make them over into what they want.”\u003c/p>\n\u003ch3>‘Not appreciated in my time’\u003c/h3>\n\u003cp>Novak faced so many setbacks that it’s a minor miracle she survived Hollywood at all. She \u003ca href=\"http://www.hollywoodreporter.com/news/kim-novak-rape-the-artist-vertigo-297151\" target=\"_blank\" rel=\"noopener\">revealed\u003c/a> in recent years that she was raped as a child, and suffered from bipolar disorder until diagnosis and treatment 15 years ago. Cohn, who \u003ca href=\"http://www.tcm.com/tcmdb/person/142407%7C94121/Kim-Novak/\" target=\"_blank\" rel=\"noopener\">called her\u003c/a> “the dumb, fat Polack” and loudly read her own bad reviews to her face, squashed her romance with Sammy Davis, Jr. by \u003ca href=\"http://www.vanityfair.com/style/1999/03/sammy-davis-kim-novak-dating\" target=\"_blank\" rel=\"noopener\">threatening them both\u003c/a> — him with removal of his remaining eye, her with never working in town again.\u003c/p>\n\u003cfigure id=\"attachment_11316690\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kim.ManWithGolden.jpg\" alt=\"Kim Novak and Frank Sinatra in 'The Man With the Golden Arm,' 1955.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11316690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.ManWithGolden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.ManWithGolden-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak and Frank Sinatra in ‘The Man With the Golden Arm,’ 1955.\u003c/figcaption>\u003c/figure>\n\u003cp>Novak nevertheless held onto enough of a sense of self to appear in remarkably strong character studies: \u003cem>Picnic\u003c/em>, \u003cem>Middle of the Night\u003c/em>, and \u003cem>Bell, Book & Candle\u003c/em> among them. It’s virtually impossible to watch Novak in these films and believe sex is the only thing she brought to the screen.\u003c/p>\n\u003cp>As Maggie in \u003cem>Strangers When We Meet\u003c/em>, Novak plays an ignored housewife who longs for attention and finds it in a suburban affair; as Molly in \u003cem>The Man With the Golden Arm\u003c/em>, she plays a strip-club hostess trying to help a heroin addict get clean. Even as the prostitute Polly the Pistol in \u003cem>Kiss Me, Stupid\u003c/em>, Novak imparts an undercurrent of longing for human connection that’s ultimately more a product of income inequity than lust. Sex is a part of all of these roles, but Novak’s understanding and empathy to the characters’ motivations runs deeper than sex, and preempts what some might now call slut-shaming. Film critics barely took note.\u003c/p>\n\u003cp>Critics were wrong, too, about \u003cem>Vertigo\u003c/em>, which recently displaced \u003cem>Citizen Kane\u003c/em> as the greatest film of all time in BFI’s \u003ca href=\"http://www.bfi.org.uk/news/50-greatest-films-all-time\" target=\"_blank\" rel=\"noopener\">\u003cem>Sight & Sound\u003c/em> poll\u003c/a>. Alfred Hitchcock’s 1958 masterpiece barely broke even at the box office; the \u003cem>Los Angeles Times\u003c/em>, \u003cem>Variety\u003c/em>, \u003cem>Time\u003c/em> and \u003cem>Newsweek\u003c/em> all panned the film. \u003cem>The New Yorker\u003c/em> dismissed the story as “far-fetched nonsense,” and \u003cem>Sight & Sound\u003c/em> itself \u003ca href=\"http://classicfilmshow.com/2008/05/01/original-review-vertigo-in-sight-and-sound-spring-1959/\" target=\"_blank\" rel=\"noopener\">opined that\u003c/a> the plot “fails to work,” bemoaning Hitchcock was “repeating himself in slow motion.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bIezEGiEN5I\u003c/p>\n\u003cp>“It was before its time, really,” Novak tells me of the film’s release. “\u003cem>I\u003c/em> was not appreciated in my time. I think I’m appreciated more now. I’m glad to know that I’m still around to know that I’m more appreciated now.”\u003c/p>\n\u003cp>Not that she’s anywhere near Hollywood to see it. In the 1970s, Novak met a veterinarian and married him, eventually bought a 43-acre ranch outside of Medford, Oregon and now spends her days along the Rogue River, painting constantly (a \u003ca href=\"http://www.kimnovakartist.com/tag/vortex-of-delusion/#.Vrwe0Sk4qiY\" target=\"_blank\" rel=\"noopener\">\u003cem>Vertigo\u003c/em>-themed canvas\u003c/a> of hers will be on display at the symphony). Like other Hitchcock starlets Tippi Hedren and Doris Day, she appears to prefer the company of her animals to the company of people.\u003c/p>\n\u003cfigure id=\"attachment_11316692\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK.jpg\" alt=\"Bernard Herrmann's soundtrack to 'Vertigo.'\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-11316692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Herrmann’s soundtrack to ‘Vertigo.’ \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I felt raped’\u003c/h3>\n\u003cp>Still, Novak stays current on new movies (“Hollywood then was a land of make-believe; I think it’s much more a land of real people now,” she tells me), and in 2011, when \u003cem>The Artist\u003c/em> lifted the love theme from Herrmann’s score for \u003cem>Vertigo\u003c/em>, Novak \u003ca href=\"http://www.hollywoodreporter.com/race/the-artist-kim-novak-rape-vertigo-279690\" target=\"_blank\" rel=\"noopener\">took out a full-page ad\u003c/a> in \u003cem>Variety\u003c/em> lambasting the usage. Her headline: “I Want to Report a Rape.”\u003c/p>\n\u003cp>“I was deeply hurt by it,” Novak says, acknowledging that some felt her wording too harsh. “They were upset when I used the saying that I felt raped, but I did. I had been raped, and it did hurt me on that level because that was from our love scene. It really hurt me a great deal.”\u003c/p>\n\u003cp>Novak’s alienation by modern-day Hollywood and its pressures came to its sharpest point at the 2014 Academy Awards, where she appeared as a presenter having clearly had work done to her face. She woke up the next morning to vicious attacks on her appearance, and didn’t leave the house for days afterward.\u003c/p>\n\u003cp>“I don’t like bullying, and that’s what it was, bullying,” she says. “It hurt me. I’m a very sensitive person, so it did bother me.”\u003c/p>\n\u003cp>Some \u003ca href=\"http://selfstyledsiren.blogspot.com/2014/03/lets-talk-about-kim-novak.html\" target=\"_blank\" rel=\"noopener\">rushed to her defense\u003c/a>. Others, like Donald Trump, \u003ca href=\"https://twitter.com/realdonaldtrump/status/440313189062823937\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> that she should fire her plastic surgeon. Novak eventually posted an \u003ca href=\"https://www.facebook.com/KimNovakActress/posts/641307919282830\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> stating that yes, she had fat injections before the broadcast, adding, “In my opinion, a person has a right to look as good as they can, and I feel better when I look better.”\u003c/p>\n\u003cp>Trump eventually apologized. But the incident was a stinging reminder to Novak of why she hasn’t made a film for 25 years.\u003c/p>\n\u003cfigure id=\"attachment_11316691\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KimNovak.Current.jpg\" alt=\"In recent years, Kim Novak has made more public appearances. \" width=\"698\" height=\"884\" class=\"size-full wp-image-11316691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Current.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Current-400x507.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Current-474x600.jpg 474w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">In recent years, Kim Novak has made more public appearances. \u003ccite>(Courtesy Kim Novak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Don’t let people try to change you’\u003c/h3>\n\u003cp>Looking back now at 82, Novak says she has no big regrets. But if she could go back in time to tell her younger self anything, she says, she would encourage even more fight in the younger Kim Novak.\u003c/p>\n\u003cp>“I would just say hold out for what you believe in, and don’t be afraid to express yourself,” she says. “Don’t let people try to change you, because in the long run, if you keep trying to do what everyone else thinks is right, it’s not. You’ve got to do what you believe. Shakespeare was so right: ‘This above all, to thine own self be true.’”\u003c/p>\n\u003cp>As for her upcoming trip to San Francisco? If you see a familiar figure walking through Mission Dolores, Fort Point or the Legion of Honor, you may be in the presence of film royalty. “I’m going to want to visit my old haunts,” Novak says, “and go around to all the places where we made the movie.”\u003c/p>\n\u003cp>And after years of seclusion, Novak has started saying yes to more public appearances. Part of it, she says, may be that finally the public’s assessment of her work has caught up to its quality. Inverting her famous line in \u003cem>Vertigo\u003c/em>, audiences love her — without needing to change a thing.\u003c/p>\n\u003cp>“I’m just so glad that I did get to see things turn around,” she says, “and see people appreciate me more now in life. That feels good.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kim Novak appears in conversation before the San Francisco Symphony’s screening and score performance of Vertigo on Friday and Saturday, Feb. 12 and 13, at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2015-2016/Film-Vertigo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Talking with the Hollywood legend about 'Vertigo,' Hollywood sexism, and the public's reassessment of her career.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a line spoken by Kim Novak in the Alfred Hitchcock masterpiece \u003cem>Vertigo\u003c/em> that every devotee of the film knows by heart: “If I let you change me, will that do it? If I do what you tell me, will you love me?”\u003c/p>\n\u003cp>In reality, the plea was all too personal for Novak, the platinum blonde who during a string of hit films in the 1950s and ’60s endured Hollywood’s constant makeovers: to her hair, her clothes, her figure. She became, to critics and audiences, a sex symbol — and little more.\u003c/p>\n\u003cp>But Novak, who appears this weekend in a pre-concert Q&A at the \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2015-2016/Film-Vertigo\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony’s live-screening performance\u003c/a> of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, would prevail over tyranny and adversity to create a phenomenal body of film work that deserves a serious reassessment.\u003c/p>\n\u003cp>As for being a sex symbol? It’s a reputation, she says, that she always fought against.\u003c/p>\n\u003cfigure id=\"attachment_11316688\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KimNovak.Publicity.jpg\" alt=\"Kim Novak in a publicity shot for 'Vertigo,' 1958.\" width=\"600\" height=\"899\" class=\"size-full wp-image-11316688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Publicity.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Publicity-400x600.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in a publicity shot for ‘Vertigo,’ 1958.\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I didn’t look at all like myself’\u003c/h3>\n\u003cp>“When I first went to the studio,” Novak tells me over the phone from her ranch in rural Oregon, “they’d put me in the makeup chair and they’d say, ‘Well, now, let’s see, I think we’ll give you a Joan Crawford mouth, and we’ll give you Lana Turner hair.’ By the time I got out of the makeup chair, I didn’t look at all like myself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Novak, then 20, rebelled — as much as one could and still be in pictures, anyway. She famously refused Columbia studio boss Harry Cohn’s demand that she change her name to “Kit Marlowe” (born in Chicago as Marilyn Pauline Novak, the “Kim” was a compromise), and before her first screen test she ran into the ladies’ room to wipe away the layers of makeup his team had applied. “I had to try to find remnants of myself underneath all this makeup,” she says. “I remember doing this all through my early career, trying to undo what they were trying to put on me.”\u003c/p>\n\u003cp>In hindsight, Cohn’s drastic makeovers were perfect practice for Novak’s role in \u003cem>Vertigo\u003c/em> as Judy, a woman subjected to Jimmy Stewart’s obsession and his strict demands for her physical transformation. “That’s of course what \u003cem>Vertigo\u003c/em> was,” she says. “I mean, Judy was always saying ‘Love \u003cem>me\u003c/em>, love who I am.’ But she was always reaching out, as I was, always reaching out to be seen as more than that sex symbol.”\u003c/p>\n\u003cfigure id=\"attachment_11316695\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kim.Judy_.jpg\" alt=\"Kim Novak as Judy in 'Vertigo,' 1958.\" width=\"1100\" height=\"615\" class=\"size-full wp-image-11316695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.Judy_-960x537.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak as Judy in ‘Vertigo,’ 1958.\u003c/figcaption>\u003c/figure>\n\u003cp>That career-defining role, perhaps, was also perfect practice for being a female star in a male-dominated world.\u003c/p>\n\u003cp>“For women in general,” she sighs, “men are always trying to make them over into what they want.”\u003c/p>\n\u003ch3>‘Not appreciated in my time’\u003c/h3>\n\u003cp>Novak faced so many setbacks that it’s a minor miracle she survived Hollywood at all. She \u003ca href=\"http://www.hollywoodreporter.com/news/kim-novak-rape-the-artist-vertigo-297151\" target=\"_blank\" rel=\"noopener\">revealed\u003c/a> in recent years that she was raped as a child, and suffered from bipolar disorder until diagnosis and treatment 15 years ago. Cohn, who \u003ca href=\"http://www.tcm.com/tcmdb/person/142407%7C94121/Kim-Novak/\" target=\"_blank\" rel=\"noopener\">called her\u003c/a> “the dumb, fat Polack” and loudly read her own bad reviews to her face, squashed her romance with Sammy Davis, Jr. by \u003ca href=\"http://www.vanityfair.com/style/1999/03/sammy-davis-kim-novak-dating\" target=\"_blank\" rel=\"noopener\">threatening them both\u003c/a> — him with removal of his remaining eye, her with never working in town again.\u003c/p>\n\u003cfigure id=\"attachment_11316690\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kim.ManWithGolden.jpg\" alt=\"Kim Novak and Frank Sinatra in 'The Man With the Golden Arm,' 1955.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11316690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.ManWithGolden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kim.ManWithGolden-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak and Frank Sinatra in ‘The Man With the Golden Arm,’ 1955.\u003c/figcaption>\u003c/figure>\n\u003cp>Novak nevertheless held onto enough of a sense of self to appear in remarkably strong character studies: \u003cem>Picnic\u003c/em>, \u003cem>Middle of the Night\u003c/em>, and \u003cem>Bell, Book & Candle\u003c/em> among them. It’s virtually impossible to watch Novak in these films and believe sex is the only thing she brought to the screen.\u003c/p>\n\u003cp>As Maggie in \u003cem>Strangers When We Meet\u003c/em>, Novak plays an ignored housewife who longs for attention and finds it in a suburban affair; as Molly in \u003cem>The Man With the Golden Arm\u003c/em>, she plays a strip-club hostess trying to help a heroin addict get clean. Even as the prostitute Polly the Pistol in \u003cem>Kiss Me, Stupid\u003c/em>, Novak imparts an undercurrent of longing for human connection that’s ultimately more a product of income inequity than lust. Sex is a part of all of these roles, but Novak’s understanding and empathy to the characters’ motivations runs deeper than sex, and preempts what some might now call slut-shaming. Film critics barely took note.\u003c/p>\n\u003cp>Critics were wrong, too, about \u003cem>Vertigo\u003c/em>, which recently displaced \u003cem>Citizen Kane\u003c/em> as the greatest film of all time in BFI’s \u003ca href=\"http://www.bfi.org.uk/news/50-greatest-films-all-time\" target=\"_blank\" rel=\"noopener\">\u003cem>Sight & Sound\u003c/em> poll\u003c/a>. Alfred Hitchcock’s 1958 masterpiece barely broke even at the box office; the \u003cem>Los Angeles Times\u003c/em>, \u003cem>Variety\u003c/em>, \u003cem>Time\u003c/em> and \u003cem>Newsweek\u003c/em> all panned the film. \u003cem>The New Yorker\u003c/em> dismissed the story as “far-fetched nonsense,” and \u003cem>Sight & Sound\u003c/em> itself \u003ca href=\"http://classicfilmshow.com/2008/05/01/original-review-vertigo-in-sight-and-sound-spring-1959/\" target=\"_blank\" rel=\"noopener\">opined that\u003c/a> the plot “fails to work,” bemoaning Hitchcock was “repeating himself in slow motion.”\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/bIezEGiEN5I'\n title='//www.youtube.com/embed/bIezEGiEN5I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It was before its time, really,” Novak tells me of the film’s release. “\u003cem>I\u003c/em> was not appreciated in my time. I think I’m appreciated more now. I’m glad to know that I’m still around to know that I’m more appreciated now.”\u003c/p>\n\u003cp>Not that she’s anywhere near Hollywood to see it. In the 1970s, Novak met a veterinarian and married him, eventually bought a 43-acre ranch outside of Medford, Oregon and now spends her days along the Rogue River, painting constantly (a \u003ca href=\"http://www.kimnovakartist.com/tag/vortex-of-delusion/#.Vrwe0Sk4qiY\" target=\"_blank\" rel=\"noopener\">\u003cem>Vertigo\u003c/em>-themed canvas\u003c/a> of hers will be on display at the symphony). Like other Hitchcock starlets Tippi Hedren and Doris Day, she appears to prefer the company of her animals to the company of people.\u003c/p>\n\u003cfigure id=\"attachment_11316692\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK.jpg\" alt=\"Bernard Herrmann's soundtrack to 'Vertigo.'\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-11316692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimVertigoSDTK-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Herrmann’s soundtrack to ‘Vertigo.’ \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I felt raped’\u003c/h3>\n\u003cp>Still, Novak stays current on new movies (“Hollywood then was a land of make-believe; I think it’s much more a land of real people now,” she tells me), and in 2011, when \u003cem>The Artist\u003c/em> lifted the love theme from Herrmann’s score for \u003cem>Vertigo\u003c/em>, Novak \u003ca href=\"http://www.hollywoodreporter.com/race/the-artist-kim-novak-rape-vertigo-279690\" target=\"_blank\" rel=\"noopener\">took out a full-page ad\u003c/a> in \u003cem>Variety\u003c/em> lambasting the usage. Her headline: “I Want to Report a Rape.”\u003c/p>\n\u003cp>“I was deeply hurt by it,” Novak says, acknowledging that some felt her wording too harsh. “They were upset when I used the saying that I felt raped, but I did. I had been raped, and it did hurt me on that level because that was from our love scene. It really hurt me a great deal.”\u003c/p>\n\u003cp>Novak’s alienation by modern-day Hollywood and its pressures came to its sharpest point at the 2014 Academy Awards, where she appeared as a presenter having clearly had work done to her face. She woke up the next morning to vicious attacks on her appearance, and didn’t leave the house for days afterward.\u003c/p>\n\u003cp>“I don’t like bullying, and that’s what it was, bullying,” she says. “It hurt me. I’m a very sensitive person, so it did bother me.”\u003c/p>\n\u003cp>Some \u003ca href=\"http://selfstyledsiren.blogspot.com/2014/03/lets-talk-about-kim-novak.html\" target=\"_blank\" rel=\"noopener\">rushed to her defense\u003c/a>. Others, like Donald Trump, \u003ca href=\"https://twitter.com/realdonaldtrump/status/440313189062823937\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> that she should fire her plastic surgeon. Novak eventually posted an \u003ca href=\"https://www.facebook.com/KimNovakActress/posts/641307919282830\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> stating that yes, she had fat injections before the broadcast, adding, “In my opinion, a person has a right to look as good as they can, and I feel better when I look better.”\u003c/p>\n\u003cp>Trump eventually apologized. But the incident was a stinging reminder to Novak of why she hasn’t made a film for 25 years.\u003c/p>\n\u003cfigure id=\"attachment_11316691\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KimNovak.Current.jpg\" alt=\"In recent years, Kim Novak has made more public appearances. \" width=\"698\" height=\"884\" class=\"size-full wp-image-11316691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Current.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Current-400x507.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KimNovak.Current-474x600.jpg 474w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">In recent years, Kim Novak has made more public appearances. \u003ccite>(Courtesy Kim Novak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Don’t let people try to change you’\u003c/h3>\n\u003cp>Looking back now at 82, Novak says she has no big regrets. But if she could go back in time to tell her younger self anything, she says, she would encourage even more fight in the younger Kim Novak.\u003c/p>\n\u003cp>“I would just say hold out for what you believe in, and don’t be afraid to express yourself,” she says. “Don’t let people try to change you, because in the long run, if you keep trying to do what everyone else thinks is right, it’s not. You’ve got to do what you believe. Shakespeare was so right: ‘This above all, to thine own self be true.’”\u003c/p>\n\u003cp>As for her upcoming trip to San Francisco? If you see a familiar figure walking through Mission Dolores, Fort Point or the Legion of Honor, you may be in the presence of film royalty. “I’m going to want to visit my old haunts,” Novak says, “and go around to all the places where we made the movie.”\u003c/p>\n\u003cp>And after years of seclusion, Novak has started saying yes to more public appearances. Part of it, she says, may be that finally the public’s assessment of her work has caught up to its quality. Inverting her famous line in \u003cem>Vertigo\u003c/em>, audiences love her — without needing to change a thing.\u003c/p>\n\u003cp>“I’m just so glad that I did get to see things turn around,” she says, “and see people appreciate me more now in life. That feels good.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Kim Novak appears in conversation before the San Francisco Symphony’s screening and score performance of Vertigo on Friday and Saturday, Feb. 12 and 13, at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2015-2016/Film-Vertigo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It's hardly breaking news that female writers and directors are sorely underrepresented in Hollywood, nor that -- despite \u003ca href=\"http://www.vanityfair.com/hollywood/2016/02/jennifer-lawrence-lupita-nyongo-cate-blanchett-viola-davis-hollywood-issue\" target=\"_blank\">magazine covers like this one\u003c/a> -- complex, three-dimensional parts for leading ladies are still few and far between in the year 2016.\u003c/p>\n\u003cp>But if you need some help really internalizing \u003cem>just how crappy\u003c/em> most of the roles written for women truly are, producer Ross Putman is here to help. Just yesterday the filmmaker started a Twitter account, \u003ca href=\"https://twitter.com/femscriptintros\" target=\"_blank\">@femscriptintros\u003c/a>, from which to share excerpts of scripts he receives -- specifically, the ways female characters are described as they're introduced.\u003c/p>\n\u003cp>https://twitter.com/femscriptintros/status/697286770367426560\u003c/p>\n\u003cp>The only thing altered in these tweets is the character's name: Putnam has changed each one to Jane, both providing anonymity for the script in question and helping to underscore the laughable interchangeability of all these effortlessly beautiful -- maybe also intelligent, hardworking, or funny, but \u003cem>beautiful first and foremost and don't you forget it\u003c/em> -- female characters.\u003c/p>\n\u003cp>https://twitter.com/femscriptintros/status/697228110756839424\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the account amassed more than 22,000 followers in less than 24 hours, \u003ca href=\"http://jezebel.com/a-chat-with-the-producer-calling-out-sexist-description-1758327705\" target=\"_blank\">Jezebel reached out to Putman \u003c/a>to hear about the idea's origins. What started as just a good old-fashioned way to let off steam about shoddy scripts -- via Facebook rants, of course -- apparently grew into something more pointed when the filmmaker started noticing patterns along gender lines.\u003c/p>\n\u003cblockquote>\u003cp>But the more that I read, the more I started to recognize some pretty awful constants. For every confused “you’re” and “your,” there’s just as much latent misogyny and sexism in the scripts I read. Women are first and foremost described as “beautiful,” “attractive,” or—my personal blow-my-brains-out-favorite, “stunning.” They’re always “stunning” in a certain dress or “stunning” despite being covered in dirt because they’re a paleontologist—or whatever. I found myself posting to Facebook far too often “here comes another script with our 45 year-old male lead dating a 25 year-old woman,” and decided I was going to keep track of the female character introductions in scripts I read for a few weeks.\u003c/p>\n\u003cp>I went back and combed through past scripts too, and the patterns were pretty disconcerting. I plan on posting every one that I read, and there are plenty that aren’t offensive, but honestly, most of them have some element—subtle or overt—that plays into latent objectification.\u003c/p>\u003c/blockquote>\n\u003cp>Read more of the filmmaker's thoughts on sexism in the industry and (lack of) diversity at the Oscars \u003ca href=\"http://jezebel.com/a-chat-with-the-producer-calling-out-sexist-description-1758327705\" target=\"_blank\">here\u003c/a>. I especially like his description of how deeply the false \"beautiful BUT ALSO intelligent!\" dichotomy runs through the subtext in many of these introductions.\u003c/p>\n\u003cp>In any event: If you need a daily laugh/facepalm, it's \u003ca href=\"https://twitter.com/femscriptintros\" target=\"_blank\">an account worth following\u003c/a>. It certainly won't be running low on material any time soon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the account amassed more than 22,000 followers in less than 24 hours, \u003ca href=\"http://jezebel.com/a-chat-with-the-producer-calling-out-sexist-description-1758327705\" target=\"_blank\">Jezebel reached out to Putman \u003c/a>to hear about the idea's origins. What started as just a good old-fashioned way to let off steam about shoddy scripts -- via Facebook rants, of course -- apparently grew into something more pointed when the filmmaker started noticing patterns along gender lines.\u003c/p>\n\u003cblockquote>\u003cp>But the more that I read, the more I started to recognize some pretty awful constants. For every confused “you’re” and “your,” there’s just as much latent misogyny and sexism in the scripts I read. Women are first and foremost described as “beautiful,” “attractive,” or—my personal blow-my-brains-out-favorite, “stunning.” They’re always “stunning” in a certain dress or “stunning” despite being covered in dirt because they’re a paleontologist—or whatever. I found myself posting to Facebook far too often “here comes another script with our 45 year-old male lead dating a 25 year-old woman,” and decided I was going to keep track of the female character introductions in scripts I read for a few weeks.\u003c/p>\n\u003cp>I went back and combed through past scripts too, and the patterns were pretty disconcerting. I plan on posting every one that I read, and there are plenty that aren’t offensive, but honestly, most of them have some element—subtle or overt—that plays into latent objectification.\u003c/p>\u003c/blockquote>\n\u003cp>Read more of the filmmaker's thoughts on sexism in the industry and (lack of) diversity at the Oscars \u003ca href=\"http://jezebel.com/a-chat-with-the-producer-calling-out-sexist-description-1758327705\" target=\"_blank\">here\u003c/a>. I especially like his description of how deeply the false \"beautiful BUT ALSO intelligent!\" dichotomy runs through the subtext in many of these introductions.\u003c/p>\n\u003cp>In any event: If you need a daily laugh/facepalm, it's \u003ca href=\"https://twitter.com/femscriptintros\" target=\"_blank\">an account worth following\u003c/a>. It certainly won't be running low on material any time soon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[contextly_sidebar id=\"DYUX4r9Ao0cDr0xabeSXM6vMkVaKBkqY\"]We tend to look back on \u003cem>Mrs. Doubtfire\u003c/em> as a fun elderly drag romp. Remember the time Mrs. Doubtfire \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/tumblr_lk2n2d0bIh1qi3n3go1_500.gif\" target=\"_blank\">screamed \"Helloooo!\" with cream all over her face\u003c/a>? Ha ha ha. Or that time she \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/lol-mrs-doubtfire-31201213-245-165_0.gif\" target=\"_blank\">threw a citrus fruit\u003c/a> at the back of Pierce Brosnan's skull? Ha ha. Or that time her \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/tumblr_lk2nmxaN0Q1qi3n3go1_500.gif\" target=\"_blank\">prosthetic breasts caught fire\u003c/a>? Ha.\u003c/p>\n\u003cp>But the laughs dry up when the undercurrent that moves the movie along -- divorce and its pernicious effects on young children -- rears its ugly head. The movie did a great job of striking a balance between the sadness of that topic and high jinks. But things would have tipped heavily into \u003cem>This is too depressing to ever watch again\u003c/em> territory, if these newly surfaced deleted scenes had been included in the final cut. All three have zero jokes and 100% sadness. And the added weight of Robin Williams' death doesn't help matters.\u003c/p>\n\u003cp>\u003cstrong>Trigger warning:\u003c/strong> If you're a child of divorce, make sure you don't mind the people around you seeing you cry.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-8Y-uV2wJyM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>We tend to look back on \u003cem>Mrs. Doubtfire\u003c/em> as a fun elderly drag romp. Remember the time Mrs. Doubtfire \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/tumblr_lk2n2d0bIh1qi3n3go1_500.gif\" target=\"_blank\">screamed \"Helloooo!\" with cream all over her face\u003c/a>? Ha ha ha. Or that time she \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/lol-mrs-doubtfire-31201213-245-165_0.gif\" target=\"_blank\">threw a citrus fruit\u003c/a> at the back of Pierce Brosnan's skull? Ha ha. Or that time her \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/tumblr_lk2nmxaN0Q1qi3n3go1_500.gif\" target=\"_blank\">prosthetic breasts caught fire\u003c/a>? Ha.\u003c/p>\n\u003cp>But the laughs dry up when the undercurrent that moves the movie along -- divorce and its pernicious effects on young children -- rears its ugly head. The movie did a great job of striking a balance between the sadness of that topic and high jinks. But things would have tipped heavily into \u003cem>This is too depressing to ever watch again\u003c/em> territory, if these newly surfaced deleted scenes had been included in the final cut. All three have zero jokes and 100% sadness. And the added weight of Robin Williams' death doesn't help matters.\u003c/p>\n\u003cp>\u003cstrong>Trigger warning:\u003c/strong> If you're a child of divorce, make sure you don't mind the people around you seeing you cry.\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/-8Y-uV2wJyM'\n title='//www.youtube.com/embed/-8Y-uV2wJyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The opening vignette of \u003cem>In the Shadow of Women\u003c/em> shows a man in front of a wall, slightly off-center in the widescreen frame. Pierre (Stanislas Merhar) does little more than chew on a bite of sandwich for about a minute, an opening that suggests this will be one of those French films that takes its time in pondering the ordinariness of daily life.\u003c/p>\n\u003cp>It isn’t. Director Phillipe Garrel, who’s been making movies since the late 1960s, still favors the low-budget spontaneity of the early French New Wave. But he has a carefully constructed script this time, one that disassembles a marriage in about 70 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OiOnxv30iHk\u003c/p>\n\u003cp>Pierre is a documentary filmmaker who works with his wife, Manon (Clotilde Courau). Their apartment in north-central Paris is shabby, but beyond their means. The landlord arrives in the movie’s second scene, demanding back rent from Manon.\u003c/p>\n\u003cp>Yet Manon is happy to be working with Pierre, at the moment on a movie about a hero of the French Resistance, Henri (Jean Pommier). A couple that spends most of its waking hours in an editing room needn’t worry about a swanky place to dwell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The relationship is explained in terse, occasional voiceover by actor Louis Garrel, the director’s son. Also offering commentary is Manon’s mother (Antoinette Moya), who says she likes Pierre, but might like him better if he got a real job. Her questions give Manon a believable context in which to detail what’s so great about her filmmaker husband.\u003c/p>\n\u003cp>For Pierre — like Garrel, who shot \u003cem>Women\u003c/em> in black-and-white 35mm — film means celluloid. It’s at a picturesque archive, where movie cans are stored like bottles of fine wine, that the documentarian meets Elisabeth (Lena Paugam), a pretty but hardly glamorous grad student. They begin an affair.\u003c/p>\n\u003cp>Pierre demonstrates his form of gallantry by immediately telling Elisabeth that he’s married. But he doesn’t reveal anything to Manon. He’s shocked when she, intuiting the changed situation, takes a lover of her own. Interestingly, Pierre gets the news of Manon’s infidelity from Elisabeth. The wayward husband probably imagines that his relationship with Elisabeth, which consists of little more than sex, is simple. But jealousy is complicated.\u003c/p>\n\u003cp>This concise tale was scripted by the director and three others, including Jean-Claude Carriere, whose signature is on many literary international productions (including \u003cem>The Tin Drum\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>) that are far better known than any of Garrel’s efforts. While the screenplay is solid, parts of its story are underdeveloped. Notably, the writers don’t make much of an intriguing parallel between Pierre and Henri. Acknowledging the two men’s similar characters could have rendered the movie both more playful and more profound.\u003c/p>\n\u003cp>What distinguishes \u003cem>In the Shadow of Women\u003c/em> are its naturalistic performances — especially Courau’s — and its elegantly composed shots and offhand rhythm. The narrative cadence is accented by infrequent use of Jean-Louis Aubert’s modern chamber-music score.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film also has a strong sense of place, in part because it shows so little sense of its era. Viewers may be surprised when Elisabeth pulls out a mobile phone, the first concrete detail to place the action in contemporary times. The movie is on set on streets that may not be mean, but are certainly ungentrified. Their existence is proof that, as a cinematic location that evokes bohemian urbanity, Paris will always have us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The opening vignette of \u003cem>In the Shadow of Women\u003c/em> shows a man in front of a wall, slightly off-center in the widescreen frame. Pierre (Stanislas Merhar) does little more than chew on a bite of sandwich for about a minute, an opening that suggests this will be one of those French films that takes its time in pondering the ordinariness of daily life.\u003c/p>\n\u003cp>It isn’t. Director Phillipe Garrel, who’s been making movies since the late 1960s, still favors the low-budget spontaneity of the early French New Wave. But he has a carefully constructed script this time, one that disassembles a marriage in about 70 minutes.\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/OiOnxv30iHk'\n title='//www.youtube.com/embed/OiOnxv30iHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pierre is a documentary filmmaker who works with his wife, Manon (Clotilde Courau). Their apartment in north-central Paris is shabby, but beyond their means. The landlord arrives in the movie’s second scene, demanding back rent from Manon.\u003c/p>\n\u003cp>Yet Manon is happy to be working with Pierre, at the moment on a movie about a hero of the French Resistance, Henri (Jean Pommier). A couple that spends most of its waking hours in an editing room needn’t worry about a swanky place to dwell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The relationship is explained in terse, occasional voiceover by actor Louis Garrel, the director’s son. Also offering commentary is Manon’s mother (Antoinette Moya), who says she likes Pierre, but might like him better if he got a real job. Her questions give Manon a believable context in which to detail what’s so great about her filmmaker husband.\u003c/p>\n\u003cp>For Pierre — like Garrel, who shot \u003cem>Women\u003c/em> in black-and-white 35mm — film means celluloid. It’s at a picturesque archive, where movie cans are stored like bottles of fine wine, that the documentarian meets Elisabeth (Lena Paugam), a pretty but hardly glamorous grad student. They begin an affair.\u003c/p>\n\u003cp>Pierre demonstrates his form of gallantry by immediately telling Elisabeth that he’s married. But he doesn’t reveal anything to Manon. He’s shocked when she, intuiting the changed situation, takes a lover of her own. Interestingly, Pierre gets the news of Manon’s infidelity from Elisabeth. The wayward husband probably imagines that his relationship with Elisabeth, which consists of little more than sex, is simple. But jealousy is complicated.\u003c/p>\n\u003cp>This concise tale was scripted by the director and three others, including Jean-Claude Carriere, whose signature is on many literary international productions (including \u003cem>The Tin Drum\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>) that are far better known than any of Garrel’s efforts. While the screenplay is solid, parts of its story are underdeveloped. Notably, the writers don’t make much of an intriguing parallel between Pierre and Henri. Acknowledging the two men’s similar characters could have rendered the movie both more playful and more profound.\u003c/p>\n\u003cp>What distinguishes \u003cem>In the Shadow of Women\u003c/em> are its naturalistic performances — especially Courau’s — and its elegantly composed shots and offhand rhythm. The narrative cadence is accented by infrequent use of Jean-Louis Aubert’s modern chamber-music score.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film also has a strong sense of place, in part because it shows so little sense of its era. Viewers may be surprised when Elisabeth pulls out a mobile phone, the first concrete detail to place the action in contemporary times. The movie is on set on streets that may not be mean, but are certainly ungentrified. Their existence is proof that, as a cinematic location that evokes bohemian urbanity, Paris will always have us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Earth, Wind & Fire founder Maurice White, whose horn-driven band sold more than 90 million albums and made hits like “September,” ”Shining Star” and “Boogie Wonderland,” died Wednesday at his home in Los Angeles, his brother Verdine said.\u003c/p>\n\u003cp>White, who was 74, suffered from Parkinson’s Disease and had retreated from the public even as the band he founded kept performing.\u003c/p>\n\u003cp>“My brother, hero and best friend Maurice White passed away peacefully last night in his sleep,” Verdine White, also a member of the band, told The Associated Press on Thursday. “While the world has lost another great musician and legend, our family asks that our privacy is respected as we start what will be a very difficult and life changing transition in our lives. Thank you for your prayers and well wishes.”\u003c/p>\n\u003cp>Earth, Wind & Fire, a nine-piece band centered around the two White brothers, singer Philip Bailey and the distinctive horn section, were inducted into the Rock and Roll Hall of Fame in 2000. The band’s most successful period started with the 1975 album “That’s The Way of The World” and continued through the rest of the decade. Other hits included “Serpentine Fire,” “That’s the Way of the World” and a cover of the Beatles’ “Got to Get You Into My Life.”\u003c/p>\n\u003cp>https://www.facebook.com/EarthWindandFire/photos/a.10150267103330989.324607.13458425988/10153178392025989/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>White publicly revealed he had Parkinson’s at the time of the band’s Hall of Fame induction, but he had shown symptoms of the neurological disease back in the 1980s. He stopped touring with the band in 1995 because of weariness from the road combined with his health problems.\u003c/p>\n\u003cp>White said in an interview with The Associated Press in 2000 that he wanted the band’s music to inspire instead of just entertain.\u003c/p>\n\u003cp>“That was the whole objective, to try to inspire young people to believe in themselves and to follow through on their ideas,” he said. “We’ve touched so many people with these songs.”\u003c/p>\n\u003cp>A former session drummer, White founded the band Salty Peppers in the Chicago area in the late 1960s and had some modest success in the Midwest. After relocating to Los Angeles and ditching all of the band members except Verdine, he renamed the outfit Earth, Wind & Fire after the three elements in his astrological chart.\u003c/p>\n\u003cp>Bailey’s bright falsetto defined many of Earth, Wind & Fire’s hits. “We experienced pure magic together,” Bailey said during the band’s Rock and Roll Hall of Fame induction, standing next to White.\u003c/p>\n\u003cp>The band’s early sound was jazzy, but evolved into an exuberant, horn-driven mix of jazz, funk, gospel and Big Band music. Their appeal wasn’t just on records but on stage, their concerts a whirl of dancing, fog machines, multi-colored lights and glittery costumes. Earth, Wind & Fire performed everywhere from the Super Bowl to the White House.\u003c/p>\n\u003cp>Maurice White also had a substantial side career producing other artists, including Barbra Streisand and Cher. In the 1970s, he co-wrote and co-produced the Emotions’ No. 1 hit “Best of My Love.”\u003c/p>\n\u003cp>White was born in Memphis in 1941, the son of a doctor and grandson of a New Orleans piano player. He showed musical gifts at an early age, studying at the Chicago Conservancy. During the 1960s, he backed Muddy Waters, the Impressions and others and worked as a session drummer in Chicago for influential record labels Chess and Okeh.\u003c/p>\n\u003cp>While White’s main residence was in Los Angeles, he was reported to own a second home in Carmel Valley.\u003c/p>\n\u003cp>\u003ci>In celebration of White’s body of work, here’s one of Earth, Wind and Fire’s biggest hits, “September.” NPR Music spoke with White about \u003ca href=\"http://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\" target=\"_blank\" rel=\"noopener\">this particular track back in 2014\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gs069dndIYk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Additional reporting on this story by KQED Arts reporter Kevin L. Jones.\u003c/i>\u003c/p>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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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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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"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.",
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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/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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