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"content": "\u003cp>Eagerly-anticipated West Oakland record manufacturer Second Line Vinyl is at risk of losing all of its equipment to a creditor less than two years after announcing ambitious goals to build a venue and recording studio alongside the city’s first vinyl pressing plant since the 1930s, KQED has learned.\u003c/p>\n\u003cp>\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a> founder and chief executive Zane Howard confirmed that he’s struggled to attract enough investment to bring the facility into action. “We’re having to wind down,” he said. “I would say the business is in jeopardy just as it was ready to begin pressing.”\u003c/p>\n\u003cp>Lyz Luke, Second Line’s community affairs director, used starker language in an email Saturday to industry contacts. “Our funding has run out and we are going to have to shut down,” she wrote.\u003c/p>\n\u003cp>The business’ main lender, Stockton pencil manufacturer California Cedar Products, has moved to recover the specialized pressing machinery used as collateral. Howard said an auction of the assets, publicly noticed in a local newspaper Monday, has been postponed until next week while he attempts to negotiate with the lender. [aside postID=arts_13812043,arts_13855266]\u003c/p>\n\u003cp>Howard valued the equipment at around $300,000, with an additional $100,000 in installation costs.\u003c/p>\n\u003cp>“We don’t know what will happen to the equipment,” he said, adding that he hopes to strike a new deal with California Cedar Products.\u003c/p>\n\u003cp>(KQED has contacted California Cedar Products for comment.)\u003c/p>\n\u003cp>In late 2017, Howard invited media, investors and music industry figures to the 40,000 square foot Mandela Parkway facility and said that, by the end of the next year, six newly built presses capable of producing a million units annually would be up and running.\u003c/p>\n\u003cp>The auction notice lists one combination press, extruder and cutter, and related equipment such as a steam boiler and water cooling tower. But the system isn’t operational. (One problem is difficulties working with Pacific Gas & Electric, which is in bankruptcy proceedings, to upgrade the gas line.) Meanwhile, Second Line has been brokering manufacturing deals with other plants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>A new pilot is set to take the helm at the Smithsonian Institution.\u003c/p>\n\u003cp>The organization, a public-private partnership that has established and maintains many of the best-known museums in the U.S., unveiled its next secretary at a news conference Tuesday: \u003ca href=\"https://www.si.edu/about/bios/lonnie-g-bunch-iii\">Lonnie G. Bunch III\u003c/a>, the founding director of the \u003ca href=\"https://nmaahc.si.edu/\">National Museum of African American History and Culture\u003c/a>, will take over the day-to-day administration of the Smithsonian’s 19 museums, 21 libraries and the National Zoo — \u003ca href=\"https://www.si.edu/about/museums\">among other operations\u003c/a>.\u003c/p>\n\u003cp>Bunch’s selection, made by unanimous vote of the organization’s \u003ca href=\"https://www.si.edu/regents/members\">17-member Board of Regents\u003c/a>, makes him the first African American to serve in the role of secretary in \u003ca href=\"https://siarchives.si.edu/history/secretaries-smithsonian\">its 173-year history\u003c/a>. He will take over for the outgoing secretary, \u003ca href=\"https://www.si.edu/about/secretary-david-skorton\">David Skorton\u003c/a>, in roughly three weeks.\u003c/p>\n\u003cp>Shortly after his name was announced, Bunch stepped to the lectern to reflect on just what this move means to him — and to acknowledge the “challenges that the institution faces during the next decade.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But more importantly,” he said, “I’m excited by the potential to meet those challenges.”\u003c/p>\n\u003cp>Bunch represents a new leader for the Smithsonian, but in many ways he is something of an old hand. He took over the African American history museum in 2005, steering it from the early days of its inception through its 2016 opening and beyond. Before that, he worked at the \u003ca href=\"https://americanhistory.si.edu/\">National Museum of American History\u003c/a> for over a decade.\u003c/p>\n\u003cp>Yet for all his work in history, Bunch said Tuesday that he’s got his eyes trained squarely on the future.\u003c/p>\n\u003cp>“It is important for the public to view the Smithsonian not simply as an addict of nostalgia, but as a cauldron of ideas of innovation and understanding that can be transformative for our country,” he said at the news conference.\u003c/p>\n\u003cp>“To accomplish this, though, the Smithsonian must become a much more nimble entity,” he added. “It must be an institution that is ripe with technology, an institution better suited to serve 21st century audiences, and an institution of research, of great collections, and of wonder that helps America understand itself and its world. This will ensure that the Smithsonian will always be what it once was. It will always ensure that the Smithsonian will be a place where scholarship, creativity, education and service come together for the greater good.”\u003c/p>\n\u003cp>Within the Smithsonian Institution’s leadership structure, the secretary is akin to a private company’s CEO — the executive responsible for the umbrella organization’s general vision and daily direction.\u003c/p>\n\u003cp>Under Skorton, a cardiologist and former president of both the \u003ca href=\"https://www.thegazette.com/2014/03/10/former-ui-president-david-skorton-to-lead-smithsonian\">University of Iowa\u003c/a> and \u003ca href=\"http://president.cornell.edu/david-j-skorton/\">Cornell University\u003c/a>, the Smithsonian \u003ca href=\"https://www.npr.org/2019/01/09/682925400/as-shutdown-crawls-on-artists-and-nonprofits-fear-for-their-fragile-industry\">weathered the federal shutdown\u003c/a> earlier this year and opened the long-awaited National Museum of African American History and Culture in 2016.\u003c/p>\n\u003cp>Later this summer Skorton \u003ca href=\"https://news.aamc.org/press-releases/article/aamc-names-next-president-and-ceo/\">plans to move on\u003c/a> to the Association of American Medical Colleges, where he will become president and CEO.\u003c/p>\n\u003cp>“The Regents, and the Smithsonian, are fortunate to have had Secretary Skorton’s leadership, vision and commitment during a crucial period when the Smithsonian is expanding its reach and focusing its research and educational efforts,” John Roberts, chief justice of the U.S. Supreme Court and Smithsonian chancellor, said in a statement after Skorton \u003ca href=\"https://www.si.edu/newsdesk/releases/secretary-david-skorton-depart-smithsonian\">announced his departure\u003c/a> late last year. “He has laid a solid foundation for the Institution’s future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bunch will assume the role of secretary on June 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>A new pilot is set to take the helm at the Smithsonian Institution.\u003c/p>\n\u003cp>The organization, a public-private partnership that has established and maintains many of the best-known museums in the U.S., unveiled its next secretary at a news conference Tuesday: \u003ca href=\"https://www.si.edu/about/bios/lonnie-g-bunch-iii\">Lonnie G. Bunch III\u003c/a>, the founding director of the \u003ca href=\"https://nmaahc.si.edu/\">National Museum of African American History and Culture\u003c/a>, will take over the day-to-day administration of the Smithsonian’s 19 museums, 21 libraries and the National Zoo — \u003ca href=\"https://www.si.edu/about/museums\">among other operations\u003c/a>.\u003c/p>\n\u003cp>Bunch’s selection, made by unanimous vote of the organization’s \u003ca href=\"https://www.si.edu/regents/members\">17-member Board of Regents\u003c/a>, makes him the first African American to serve in the role of secretary in \u003ca href=\"https://siarchives.si.edu/history/secretaries-smithsonian\">its 173-year history\u003c/a>. He will take over for the outgoing secretary, \u003ca href=\"https://www.si.edu/about/secretary-david-skorton\">David Skorton\u003c/a>, in roughly three weeks.\u003c/p>\n\u003cp>Shortly after his name was announced, Bunch stepped to the lectern to reflect on just what this move means to him — and to acknowledge the “challenges that the institution faces during the next decade.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But more importantly,” he said, “I’m excited by the potential to meet those challenges.”\u003c/p>\n\u003cp>Bunch represents a new leader for the Smithsonian, but in many ways he is something of an old hand. He took over the African American history museum in 2005, steering it from the early days of its inception through its 2016 opening and beyond. Before that, he worked at the \u003ca href=\"https://americanhistory.si.edu/\">National Museum of American History\u003c/a> for over a decade.\u003c/p>\n\u003cp>Yet for all his work in history, Bunch said Tuesday that he’s got his eyes trained squarely on the future.\u003c/p>\n\u003cp>“It is important for the public to view the Smithsonian not simply as an addict of nostalgia, but as a cauldron of ideas of innovation and understanding that can be transformative for our country,” he said at the news conference.\u003c/p>\n\u003cp>“To accomplish this, though, the Smithsonian must become a much more nimble entity,” he added. “It must be an institution that is ripe with technology, an institution better suited to serve 21st century audiences, and an institution of research, of great collections, and of wonder that helps America understand itself and its world. This will ensure that the Smithsonian will always be what it once was. It will always ensure that the Smithsonian will be a place where scholarship, creativity, education and service come together for the greater good.”\u003c/p>\n\u003cp>Within the Smithsonian Institution’s leadership structure, the secretary is akin to a private company’s CEO — the executive responsible for the umbrella organization’s general vision and daily direction.\u003c/p>\n\u003cp>Under Skorton, a cardiologist and former president of both the \u003ca href=\"https://www.thegazette.com/2014/03/10/former-ui-president-david-skorton-to-lead-smithsonian\">University of Iowa\u003c/a> and \u003ca href=\"http://president.cornell.edu/david-j-skorton/\">Cornell University\u003c/a>, the Smithsonian \u003ca href=\"https://www.npr.org/2019/01/09/682925400/as-shutdown-crawls-on-artists-and-nonprofits-fear-for-their-fragile-industry\">weathered the federal shutdown\u003c/a> earlier this year and opened the long-awaited National Museum of African American History and Culture in 2016.\u003c/p>\n\u003cp>Later this summer Skorton \u003ca href=\"https://news.aamc.org/press-releases/article/aamc-names-next-president-and-ceo/\">plans to move on\u003c/a> to the Association of American Medical Colleges, where he will become president and CEO.\u003c/p>\n\u003cp>“The Regents, and the Smithsonian, are fortunate to have had Secretary Skorton’s leadership, vision and commitment during a crucial period when the Smithsonian is expanding its reach and focusing its research and educational efforts,” John Roberts, chief justice of the U.S. Supreme Court and Smithsonian chancellor, said in a statement after Skorton \u003ca href=\"https://www.si.edu/newsdesk/releases/secretary-david-skorton-depart-smithsonian\">announced his departure\u003c/a> late last year. “He has laid a solid foundation for the Institution’s future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bunch will assume the role of secretary on June 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A local 16 year-old born and raised in San Jose flies to Dallas Tuesday to play in one of the most prestigious piano competitions on the planet.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cliburn.org/?performer=sarah-tuan\" target=\"_blank\" rel=\"noopener\">Sarah Tuan\u003c/a>, a junior at Valley Christian High School, says she practices four to five hours a day. She loves Chopin, along with origami, bubble milk tea, and cats. But right now her focus is Chopin.\u003c/p>\n\u003cp>[aside postID='news_11679413,arts_11311114,arts_11129413' label='Related Coverage']Why classical music? It’s not just that her mom is a piano teacher. “I feel like there’s a lot of um very complicated classical stories told in classical music. You know, bringing a very traditional art to the modern world, I think it’s something very exciting and fascinating for me to do.” Tuan has been playing piano for 10 years now.\u003c/p>\n\u003cp>A student now of Cal State Fullerton’s \u003ca href=\"https://www.fullerton.edu/arts/music/about_us/faculty_administration/an_n.php\" target=\"_blank\" rel=\"noopener\">Ning An \u003c/a>who’s been been featured on NPR’s \u003ca href=\"https://www.fromthetop.org/musician/sarah-tuan/\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>, Tuan has won several competitions already. But the \u003ca href=\"https://www.cliburn.org\" target=\"_blank\" rel=\"noopener\">Cliburn International Junior Piano Competition\u003c/a> is of the world’s toughest for pianists aged 13-17.\u003c/p>\n\u003cp>230 teenagers from 32 countries applied to compete. Just 24 were accepted. Tuan has prepared 10 pieces to play in three rounds, including the Chopin Etude in G-sharp Minor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=3kX29ljnz8c&w=560&h=315]”Especially in these last few days, it’s like, you know, a runner sprinting to finish the last lap of a marathon,” Tuan said.\u003c/p>\n\u003cp>The sports analogy is an apt one. One of the judges has said these kids are all capable of making a living from their musical talent, something quite rare these days.\u003c/p>\n\u003cp>The competition hopes to excite the ambitions of contestants at a key moment in their young lives, and turn them towards doing this professionally for the rest of us. Tuan says she hasn’t made her mind up yet about a career as a pianist, but she’ll do something involving music.\u003c/p>\n\u003cp>“It definitely has to be related to music because I really can’t imagine myself doing anything else.”\u003c/p>\n\u003cul>\n\u003cli>May 31–June 1, 2019 – Preliminary Round\u003c/li>\n\u003cli>June 2–3, 2019 – Quarterfinal Round\u003c/li>\n\u003cli>June 5–6, 2019 – Semifinal Round\u003c/li>\n\u003cli>June 8, 2019 – Final Round and Awards Ceremony\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>The entire competition will be webcast live at \u003ca href=\"https://www.cliburn.org/\">cliburn.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why classical music? It’s not just that her mom is a piano teacher. “I feel like there’s a lot of um very complicated classical stories told in classical music. You know, bringing a very traditional art to the modern world, I think it’s something very exciting and fascinating for me to do.” Tuan has been playing piano for 10 years now.\u003c/p>\n\u003cp>A student now of Cal State Fullerton’s \u003ca href=\"https://www.fullerton.edu/arts/music/about_us/faculty_administration/an_n.php\" target=\"_blank\" rel=\"noopener\">Ning An \u003c/a>who’s been been featured on NPR’s \u003ca href=\"https://www.fromthetop.org/musician/sarah-tuan/\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>, Tuan has won several competitions already. But the \u003ca href=\"https://www.cliburn.org\" target=\"_blank\" rel=\"noopener\">Cliburn International Junior Piano Competition\u003c/a> is of the world’s toughest for pianists aged 13-17.\u003c/p>\n\u003cp>230 teenagers from 32 countries applied to compete. Just 24 were accepted. Tuan has prepared 10 pieces to play in three rounds, including the Chopin Etude in G-sharp Minor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This summer, certain low-income San Francisco residents will be able to see de Young’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-hardy\" target=\"_blank\" rel=\"noopener\">Ed Hardy exhibit\u003c/a>, the Museum of the African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/coffee-rhum-sugar-gold-a-postcolonial-paradox/\" target=\"_blank\" rel=\"noopener\">post-colonial Caribbean art exhibit\u003c/a> and many, many others for free.\u003c/p>\n\u003cp>On Wednesday, Mayor London Breed announced her new \u003ca href=\"https://sfmayor.org/museumsforall\" target=\"_blank\" rel=\"noopener\">Museums for All\u003c/a> program, which offers free general admission to over a dozen museums and cultural centers for low-income San Francisco residents who receive public benefits such as Medi-Cal and CalFresh. Nearly one in four San Franciscans are eligible to participate, according to Breed’s office, as the new program covers over 210,000 residents. [aside postid=arts_13857445,arts_13857790]\u003c/p>\n\u003cp>“Research tells us that exposure to the arts increases health and educational outcomes for all people,” said the San Francisco Arts Commission’s Tom DeCaigny, in a statement. “We hope this program will have a lasting positive effect on the community and foster more participation in the arts across the city.”\u003c/p>\n\u003cp>The participating museums cover a vast range of artistic tastes and intellectual interests, and include the Asian Art Museum, the Botanical Garden, the Cartoon Art Museum, the Conservatory of Flowers, the Contemporary Jewish Museum, the de Young Museum, the Japanese Tea Garden, the Legion of Honor, the Museum of the African Diaspora, the Museum of Craft and Design, the Presidio Trust, the Randall Museum, the San Francisco Museum of Modern Art, and the Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>To participate, residents must bring their Medi-Cal or EBT card in addition to proof of residence such as a driver’s license, student ID or library card. The program runs from June 1–Sept. 2.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a preview of this summer’s most highly anticipated museum shows, check out our handy \u003ca href=\"https://www.kqed.org/arts/13857790/hot-summer-guide-2019-bay-area-visual-art\" target=\"_blank\" rel=\"noopener\">Summer Guide\u003c/a>. Learn more about the Museums for All program \u003ca href=\"https://sfmayor.org/museumsforall\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>This post has been updated to reflect that the Walt Disney Family Museum is not part of the Museums for All program. It was erroneously included in the program’s original announcement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Research tells us that exposure to the arts increases health and educational outcomes for all people,” said the San Francisco Arts Commission’s Tom DeCaigny, in a statement. “We hope this program will have a lasting positive effect on the community and foster more participation in the arts across the city.”\u003c/p>\n\u003cp>The participating museums cover a vast range of artistic tastes and intellectual interests, and include the Asian Art Museum, the Botanical Garden, the Cartoon Art Museum, the Conservatory of Flowers, the Contemporary Jewish Museum, the de Young Museum, the Japanese Tea Garden, the Legion of Honor, the Museum of the African Diaspora, the Museum of Craft and Design, the Presidio Trust, the Randall Museum, the San Francisco Museum of Modern Art, and the Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>To participate, residents must bring their Medi-Cal or EBT card in addition to proof of residence such as a driver’s license, student ID or library card. The program runs from June 1–Sept. 2.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a preview of this summer’s most highly anticipated museum shows, check out our handy \u003ca href=\"https://www.kqed.org/arts/13857790/hot-summer-guide-2019-bay-area-visual-art\" target=\"_blank\" rel=\"noopener\">Summer Guide\u003c/a>. Learn more about the Museums for All program \u003ca href=\"https://sfmayor.org/museumsforall\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>This post has been updated to reflect that the Walt Disney Family Museum is not part of the Museums for All program. It was erroneously included in the program’s original announcement.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eliot Curtis was in the middle of an electronics repair job when he found himself experiencing very strange sensations at his home workshop on a recent evening. \u003c/p>\n\u003cp>It turned out that Curtis, Broadcast Operations Manager for Bay Area news channel KPIX, had accidentally ingested LSD from a vintage Buchla synthesizer that he’d volunteered to repair for the California State University East Bay—confirming a long-running urban legend that some of these trippy-sounding instruments were dipped in the drug in the 1960s.\u003c/p>\n\u003cp>Curtis told KPIX that as he began to clean the synthesizer, he discovered a crusty substance inside of it.\u003c/p>\n\u003cp>“There was like a residue … a crust or a crystalline residue on it,” he told \u003ca href=\"https://sanfrancisco.cbslocal.com/2019/05/21/1960s-rock-music-san-francisco-lsd-buchla-100-synthesizer-grateful-dead/\" target=\"_blank\" rel=\"noopener\">KPIX’s Juliette Goodrich\u003c/a>. \u003c/p>\n\u003cp>[aside postID=arts_10141761,arts_13141683]\u003c/p>\n\u003cp>About 45 minutes after cleaning the residue with his bare hands, Curtis began to experience the tingling feeling associated with the onset of an LSD trip. Three chemical tests later confirmed that the substance stuck to the vintage synthesizer was indeed acid—which explained why Curtis felt \u003cem>different\u003c/em> for the following nine hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Buchla synthesizer has a long history in Bay Area counterculture. Don Buchla, of Berkeley, developed the instrument in 1963, when he was friends with the Grateful Dead’s engineer Owsley Stanley. Ken Kesey of the ’60s counterculture group the Merry Pranksters took several Buchlas aboard their famous “Furthur” school bus—a fixture of acid-fueled, freewheeling hippie culture of the time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read more about the case of Curtis and the curious synthesizer on \u003ca href=\"https://sanfrancisco.cbslocal.com/2019/05/21/1960s-rock-music-san-francisco-lsd-buchla-100-synthesizer-grateful-dead/\" target=\"_blank\" rel=\"noopener\">KPIX\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LD4ryByjVyo\u003c/p>\n\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thus, if you’re not in a meeting with your boss right now, here’s the \u003ca href=\"https://www.youtube.com/watch?v=VfKJxowxBb4\" rel=\"noopener\" target=\"_blank\">Oakland-themed video for “Uniform On”\u003c/a> (BART cameo!), and the whole soundtrack can be heard below. And of course, I am obligated to remind you to \u003ca href=\"https://www.youtube.com/watch?v=QixQMUu4CKI\" rel=\"noopener\" target=\"_blank\">re-watch one of the greatest Jose Canseco moments in baseball history\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A6wWBAQlfQ4AXClTAgsJStH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\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/LD4ryByjVyo'\n title='//www.youtube.com/embed/LD4ryByjVyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thus, if you’re not in a meeting with your boss right now, here’s the \u003ca href=\"https://www.youtube.com/watch?v=VfKJxowxBb4\" rel=\"noopener\" target=\"_blank\">Oakland-themed video for “Uniform On”\u003c/a> (BART cameo!), and the whole soundtrack can be heard below. And of course, I am obligated to remind you to \u003ca href=\"https://www.youtube.com/watch?v=QixQMUu4CKI\" rel=\"noopener\" target=\"_blank\">re-watch one of the greatest Jose Canseco moments in baseball history\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A6wWBAQlfQ4AXClTAgsJStH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://larissaarcher.com/\" target=\"_blank\" rel=\"noopener\">Larissa Archer\u003c/a> has been asked to perform for free so many times she’s lost count.\u003c/p>\n\u003cp>Despite her years of training, impressive resume and credibility as the founder of \u003ca href=\"https://www.facebook.com/sanfranciscobellydancetheater/\" target=\"_blank\" rel=\"noopener\">San Francisco Bellydance Theater\u003c/a>, she often finds herself turning down invitations to dance for a few wrinkled dollar bills. [aside postid=arts_13852882,arts_13853392]\u003c/p>\n\u003cp>As Archer explains it, event producers “can’t cut corners on how much beer costs. They can’t cut corners on the rental of the venue.” But many can, and often do, skimp on the take-home pay of the talent that attracts showgoers in the first place.\u003c/p>\n\u003cp>And it’s not just small clubs. As KQED \u003ca href=\"https://www.kqed.org/arts/13852882/artists-today-at-apple-unpaid-exposure-money\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> in March, despite reaching a valuation of $1 trillion last year, tech giant Apple \u003ca href=\"https://www.kqed.org/arts/13852882/artists-today-at-apple-unpaid-exposure-money\" target=\"_blank\" rel=\"noopener\">doesn’t pay the artists performing in its stores\u003c/a>, compensating them with low-end merchandise such as AirPods and AppleTVs instead.\u003c/p>\n\u003cp>Following our report, \u003ca href=\"https://www.kqed.org/arts/13853392/working-for-exposure-audience-survey\" target=\"_blank\" rel=\"noopener\">we heard from\u003c/a> graphic designers, musicians, muralists and comedians who say they’re frequently asked to work for “exposure” by companies large and small, sharing tales of missing payments, false promises of paid work and full-time jobs disguised as unpaid internships.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the arts, working for low or no pay has long been an industry standard for all but the upper echelon. But as workers in other professions prone to exploitation organize for a living wage, including teachers and rideshare drivers, creatives are questioning why event producers, venue owners and companies find it acceptable to pay below the minimum wage for their work or subject them to subpar working conditions.\u003c/p>\n\u003cp>New research from Duke University has some answers.\u003c/p>\n\u003ch2>Passionate Workers Are More Likely to Be Taken Advantage Of\u003c/h2>\n\u003cp>Recent Duke Ph.D. graduate Jae Yun Kim, Professor Aaron Kay, University of Oregon Professor Troy Campbell and Oklahoma State University Professor Steven Shepherd studied the ways that workers’ passion is increasingly being used as a justification for their exploitation in today’s labor market.\u003c/p>\n\u003cp>On one hand, passion for one’s work can lead to greater satisfaction. But the researchers’ new paper in the \u003cem>Journal of Personality and Social Psychology\u003c/em>, “\u003ca href=\"https://www.fuqua.duke.edu/duke-fuqua-insights/kay-passion-exploitation\" target=\"_blank\" rel=\"noopener\">Understanding Contemporary Forms of Exploitation: Attributions of Passion Serve to Legitimize the Poor Treatment of Workers\u003c/a>,” lays bare the unique ways passionate workers can be taken advantage of in a culture that encourages us to \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/02/religion-workism-making-americans-miserable/583441/\" target=\"_blank\" rel=\"noopener\">find our life’s calling at work\u003c/a>.\u003c/p>\n\u003cp>Through eight different studies with over 2,400 participants, researchers discovered that people find it more acceptable for managers to ask passionate workers to work extra hours without additional pay, sacrifice sleep and family time, and take on demeaning tasks outside of their job descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13858023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858023\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-800x533.jpg\" alt=\"Larissa Archer and San Francisco Bellydance Theater perform at the Contemporary Jewish Museum's 10th Anniversary Gala.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larissa Archer and San Francisco Bellydance Theater perform at the Contemporary Jewish Museum’s 10th Anniversary Gala. \u003ccite>(Gary Sexton Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The participants in the studies varied from randomly selected individuals, Duke students and managers from various fields. Not surprisingly, they found requests like the above more appropriate in professions associated with passion, such as artists, animal trainers, social workers or ecologists. Furthermore, when reading about a graduate student subjected to verbal abuse and unreasonable deadlines, participants rated him as more passionate than someone who didn’t experience mistreatment.\u003c/p>\n\u003cp>“When people read about the exact same job but learned that the person enjoyed their work, they think it’s more fair, or less illegitimate, to have them do things that would objectively be considered approaching exploitation,” says Kay. “Meaning having them do things they’re not paid for, or the company getting more benefit without giving people more of the profits.”\u003c/p>\n\u003cp>“Passion, or expected passion, out of that work can be seen as compensating for poor treatment,” Kim says, adding that in his native South Korea, young professionals refer to low-paying gigs as “passion wages.” [aside postid='arts_13851697']\u003c/p>\n\u003cp>Kay explains that there’s a common misconception that if someone loves their job, they would prefer to work instead of doing other activities that contribute to a fulfilling life, which he says can be a slippery slope. “A graphic designer who works for a cool website and gets to make cool art may love their job, but they may not want to miss hanging out at their kid’s softball game over the weekend,” he says. “Forcing them to do more of it assumes it’s more joy for them, when you gotta realize that, like everyone else, they’re trying to balance their lives.”\u003c/p>\n\u003ch2>In the Arts, Passion Exploitation is the Norm\u003c/h2>\n\u003cp>Artists know passion exploitation well: because they take pleasure in performing, taking photos or writing, onlookers see the opportunity to do this work as a privilege in its own right—and use that reasoning to justify a lack of compensation or benefits.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='medium' align='right' citation='Samatha Hines, graphic design student']You’re allowed to be passionate \u003cem>and\u003c/em> want a fair wage.[/pullquote]\u003c/span>\u003c/p>\n\u003cp>Samantha Hines, an online student at the San Francisco Academy of Art, says that she took an unpaid internship at a boutique PR company and found herself doing work typically reserved for a paid, in-house graphic designer, with none of the supervision or educational aspects legally required of an unpaid internship. Her boss required her to work more than double her agreed-upon hours, persuading her with the promise of paid work after six months. That paid work never came.\u003c/p>\n\u003cp>Hines says that in her industry, “passion” is often used as a code word for exploitative conditions. “Almost every single internship that I’ve looked at says, ‘If money is the only reason you want this job, walk away. We’re looking for people who are passionate,'” she says. “That’s insane. You’re allowed to be passionate \u003cem>and\u003c/em> want a fair wage.” [aside postid='arts_13843523']\u003c/p>\n\u003cp>Oakland jazz bassist \u003ca href=\"https://www.instagram.com/carolinebass007/\" target=\"_blank\" rel=\"noopener\">Caroline Chung\u003c/a>, a longtime advocate of fair wages for musicians, says that musicians’ passion often works against them. She says a typical jazz club gig pays about $20-$40 per person in an ensemble, which factors out to less than minimum wage when accounting for rehearsal time, not to mention travel.\u003c/p>\n\u003cp>“There are definitely places I’ve played where they almost use their ability to book you or not book you as a power trip,” says Chung. “We’re basically kissing ass to try to get a gig. And I think that dynamic creates that power shift where they can feel they can take advantage.”\u003c/p>\n\u003cp>Chung attempted to organize a jazz musicians’ boycott for a fair wage in 2011 and found that even if more experienced performers hold out on gigs, there’s always a new crop of up-and-coming artists eager to take low-paying gigs to get their names out there. She proposes that local legislation that rewards businesses for paying artists fairly may be a more effective way to make change.\u003c/p>\n\u003cp>“The city should give tax breaks to businesses that support the artists in some way, whether it’s art shows or music,” she says. “They have to have some sort of incentive.”\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858024\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg\" alt=\"Meklit Hadero.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter \u003ca href=\"https://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> says that spending time educating event producers and companies about what her performance fees entail has helped her negotiate better wages. “People think they’re paying for the hour that you’re on stage,” she says, “But you’re paying for the fact that in order to get to the stage, I have to spend hours composing, hours arranging, the logistical time it takes to be a band leader, the phone calls to arrange rehearsals, all the time it takes to deal with the PR.”\u003c/p>\n\u003cp>With so much competition in live music (with profits from album sales in decline, indie acts and global superstars alike are constantly on tour), she suggests that a beneficial strategy for artists could entail moving out of the free market and into the world of grants from foundations that support the arts.\u003c/p>\n\u003cp>“That has to do with two things: one, being aware of the social context of my work, and, [two], understanding why it’s important outside of just me and being able to articulate it,” she says.\u003c/p>\n\u003ch2>Overworked and Underpaid\u003c/h2>\n\u003cp>Kim, Kay, Campbell and Shepherd’s passion research gives insight into a new kind of exploitation in an era where Americans increasingly view work as their life’s purpose—or at least are expected to. A Craigslist search for the word “passion,” for instance, yields over 2,600 job listings in the Bay Area alone for gigs not typically considered life callings, including line cook, caretaker in a nursing home and hardware store associate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='medium' align='right' citation='Professor Aaron Kay of Duke University']When people read about the exact same job but learned that the person enjoyed their work, they think it’s more fair, or less illegitimate, to have them do things that would objectively be considered approaching exploitation. [/pullquote]\u003c/span>\u003c/p>\n\u003cp>“This idea that people might be getting exploited was super intuitive for a long time to artists,” says Kay. “But as there’s been this cultural emphasis on finding your calling at work or blending the lines of what you enjoy and what you do for work, it’s becoming clear that it’s happening in wide range of professions.”\u003c/p>\n\u003cp>Meanwhile, legal protections for workers are on the decline. Since the 1970s, American companies have moved away from hiring employees, replacing them with contract workers who are legally considered self-employed and aren’t entitled to the same rights as staff. According to a \u003ca href=\"https://www.npr.org/2018/01/22/578825135/rise-of-the-contract-workers-work-is-different-now\" target=\"_blank\" rel=\"noopener\">2018 NPR poll\u003c/a>, contract workers and freelancers could make up half of the U.S. labor pool in the next 10 years.\u003c/p>\n\u003cp>Labor expert Veena Dubal, a law professor at UC Hastings, says that this increased expectation of one’s work to be one’s passion is becoming the cultural justification for an economic trend to undercut worker protections. The idea of passion underlies the “be your own boss” rhetoric of gig companies like Uber and Lyft, who often depict the work as a side hustle for passionate people pursuing bigger dreams, and therefore not really a job. [aside postid='news_11737293']\u003c/p>\n\u003cp>“From my research, I’ve shown that people in those positions are controlled in the exact same way as people who are considered traditional employees,” Dubal says. “Nothing changes in their lives except they don’t get unemployment insurance, or they don’t get worker’s compensation. … They don’t get the minimum wage.”\u003c/p>\n\u003cp>How do artists and other workers get out of this predicament? Dubal says the first step might be changing the cultural narrative. “A recognition that we’re getting swindled is a huge first step in pushing back in this phenomenon,” she says.\u003c/p>\n\u003cp>“And a bigger second step is for people who have the privilege of having higher paid jobs to work less to create a culture in which working all the time is unacceptable,” she continues, “And for workers on the lower end of the socioeconomic spectrum to organize, to form unions, to form worker associations in which collective norms like working less for higher pay becomes the goal, the aim, the normal state of affairs.”\u003c/p>\n\u003cp>All in all, the fight for fair wages is an uphill battle—not only for artists, but for all workers currently bearing the brunt of wage stagnation and rising costs of housing and education.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not saying passion is not good for the worker,” says Kay. “But it isn’t a reason to pay someone less.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://larissaarcher.com/\" target=\"_blank\" rel=\"noopener\">Larissa Archer\u003c/a> has been asked to perform for free so many times she’s lost count.\u003c/p>\n\u003cp>Despite her years of training, impressive resume and credibility as the founder of \u003ca href=\"https://www.facebook.com/sanfranciscobellydancetheater/\" target=\"_blank\" rel=\"noopener\">San Francisco Bellydance Theater\u003c/a>, she often finds herself turning down invitations to dance for a few wrinkled dollar bills. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Archer explains it, event producers “can’t cut corners on how much beer costs. They can’t cut corners on the rental of the venue.” But many can, and often do, skimp on the take-home pay of the talent that attracts showgoers in the first place.\u003c/p>\n\u003cp>And it’s not just small clubs. As KQED \u003ca href=\"https://www.kqed.org/arts/13852882/artists-today-at-apple-unpaid-exposure-money\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> in March, despite reaching a valuation of $1 trillion last year, tech giant Apple \u003ca href=\"https://www.kqed.org/arts/13852882/artists-today-at-apple-unpaid-exposure-money\" target=\"_blank\" rel=\"noopener\">doesn’t pay the artists performing in its stores\u003c/a>, compensating them with low-end merchandise such as AirPods and AppleTVs instead.\u003c/p>\n\u003cp>Following our report, \u003ca href=\"https://www.kqed.org/arts/13853392/working-for-exposure-audience-survey\" target=\"_blank\" rel=\"noopener\">we heard from\u003c/a> graphic designers, musicians, muralists and comedians who say they’re frequently asked to work for “exposure” by companies large and small, sharing tales of missing payments, false promises of paid work and full-time jobs disguised as unpaid internships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the arts, working for low or no pay has long been an industry standard for all but the upper echelon. But as workers in other professions prone to exploitation organize for a living wage, including teachers and rideshare drivers, creatives are questioning why event producers, venue owners and companies find it acceptable to pay below the minimum wage for their work or subject them to subpar working conditions.\u003c/p>\n\u003cp>New research from Duke University has some answers.\u003c/p>\n\u003ch2>Passionate Workers Are More Likely to Be Taken Advantage Of\u003c/h2>\n\u003cp>Recent Duke Ph.D. graduate Jae Yun Kim, Professor Aaron Kay, University of Oregon Professor Troy Campbell and Oklahoma State University Professor Steven Shepherd studied the ways that workers’ passion is increasingly being used as a justification for their exploitation in today’s labor market.\u003c/p>\n\u003cp>On one hand, passion for one’s work can lead to greater satisfaction. But the researchers’ new paper in the \u003cem>Journal of Personality and Social Psychology\u003c/em>, “\u003ca href=\"https://www.fuqua.duke.edu/duke-fuqua-insights/kay-passion-exploitation\" target=\"_blank\" rel=\"noopener\">Understanding Contemporary Forms of Exploitation: Attributions of Passion Serve to Legitimize the Poor Treatment of Workers\u003c/a>,” lays bare the unique ways passionate workers can be taken advantage of in a culture that encourages us to \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/02/religion-workism-making-americans-miserable/583441/\" target=\"_blank\" rel=\"noopener\">find our life’s calling at work\u003c/a>.\u003c/p>\n\u003cp>Through eight different studies with over 2,400 participants, researchers discovered that people find it more acceptable for managers to ask passionate workers to work extra hours without additional pay, sacrifice sleep and family time, and take on demeaning tasks outside of their job descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13858023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858023\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-800x533.jpg\" alt=\"Larissa Archer and San Francisco Bellydance Theater perform at the Contemporary Jewish Museum's 10th Anniversary Gala.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/35242184_10156517885383069_6513760779936727040_o.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larissa Archer and San Francisco Bellydance Theater perform at the Contemporary Jewish Museum’s 10th Anniversary Gala. \u003ccite>(Gary Sexton Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The participants in the studies varied from randomly selected individuals, Duke students and managers from various fields. Not surprisingly, they found requests like the above more appropriate in professions associated with passion, such as artists, animal trainers, social workers or ecologists. Furthermore, when reading about a graduate student subjected to verbal abuse and unreasonable deadlines, participants rated him as more passionate than someone who didn’t experience mistreatment.\u003c/p>\n\u003cp>“When people read about the exact same job but learned that the person enjoyed their work, they think it’s more fair, or less illegitimate, to have them do things that would objectively be considered approaching exploitation,” says Kay. “Meaning having them do things they’re not paid for, or the company getting more benefit without giving people more of the profits.”\u003c/p>\n\u003cp>“Passion, or expected passion, out of that work can be seen as compensating for poor treatment,” Kim says, adding that in his native South Korea, young professionals refer to low-paying gigs as “passion wages.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kay explains that there’s a common misconception that if someone loves their job, they would prefer to work instead of doing other activities that contribute to a fulfilling life, which he says can be a slippery slope. “A graphic designer who works for a cool website and gets to make cool art may love their job, but they may not want to miss hanging out at their kid’s softball game over the weekend,” he says. “Forcing them to do more of it assumes it’s more joy for them, when you gotta realize that, like everyone else, they’re trying to balance their lives.”\u003c/p>\n\u003ch2>In the Arts, Passion Exploitation is the Norm\u003c/h2>\n\u003cp>Artists know passion exploitation well: because they take pleasure in performing, taking photos or writing, onlookers see the opportunity to do this work as a privilege in its own right—and use that reasoning to justify a lack of compensation or benefits.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Samantha Hines, an online student at the San Francisco Academy of Art, says that she took an unpaid internship at a boutique PR company and found herself doing work typically reserved for a paid, in-house graphic designer, with none of the supervision or educational aspects legally required of an unpaid internship. Her boss required her to work more than double her agreed-upon hours, persuading her with the promise of paid work after six months. That paid work never came.\u003c/p>\n\u003cp>Hines says that in her industry, “passion” is often used as a code word for exploitative conditions. “Almost every single internship that I’ve looked at says, ‘If money is the only reason you want this job, walk away. We’re looking for people who are passionate,'” she says. “That’s insane. You’re allowed to be passionate \u003cem>and\u003c/em> want a fair wage.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland jazz bassist \u003ca href=\"https://www.instagram.com/carolinebass007/\" target=\"_blank\" rel=\"noopener\">Caroline Chung\u003c/a>, a longtime advocate of fair wages for musicians, says that musicians’ passion often works against them. She says a typical jazz club gig pays about $20-$40 per person in an ensemble, which factors out to less than minimum wage when accounting for rehearsal time, not to mention travel.\u003c/p>\n\u003cp>“There are definitely places I’ve played where they almost use their ability to book you or not book you as a power trip,” says Chung. “We’re basically kissing ass to try to get a gig. And I think that dynamic creates that power shift where they can feel they can take advantage.”\u003c/p>\n\u003cp>Chung attempted to organize a jazz musicians’ boycott for a fair wage in 2011 and found that even if more experienced performers hold out on gigs, there’s always a new crop of up-and-coming artists eager to take low-paying gigs to get their names out there. She proposes that local legislation that rewards businesses for paying artists fairly may be a more effective way to make change.\u003c/p>\n\u003cp>“The city should give tax breaks to businesses that support the artists in some way, whether it’s art shows or music,” she says. “They have to have some sort of incentive.”\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858024\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg\" alt=\"Meklit Hadero.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter \u003ca href=\"https://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> says that spending time educating event producers and companies about what her performance fees entail has helped her negotiate better wages. “People think they’re paying for the hour that you’re on stage,” she says, “But you’re paying for the fact that in order to get to the stage, I have to spend hours composing, hours arranging, the logistical time it takes to be a band leader, the phone calls to arrange rehearsals, all the time it takes to deal with the PR.”\u003c/p>\n\u003cp>With so much competition in live music (with profits from album sales in decline, indie acts and global superstars alike are constantly on tour), she suggests that a beneficial strategy for artists could entail moving out of the free market and into the world of grants from foundations that support the arts.\u003c/p>\n\u003cp>“That has to do with two things: one, being aware of the social context of my work, and, [two], understanding why it’s important outside of just me and being able to articulate it,” she says.\u003c/p>\n\u003ch2>Overworked and Underpaid\u003c/h2>\n\u003cp>Kim, Kay, Campbell and Shepherd’s passion research gives insight into a new kind of exploitation in an era where Americans increasingly view work as their life’s purpose—or at least are expected to. A Craigslist search for the word “passion,” for instance, yields over 2,600 job listings in the Bay Area alone for gigs not typically considered life callings, including line cook, caretaker in a nursing home and hardware store associate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>“This idea that people might be getting exploited was super intuitive for a long time to artists,” says Kay. “But as there’s been this cultural emphasis on finding your calling at work or blending the lines of what you enjoy and what you do for work, it’s becoming clear that it’s happening in wide range of professions.”\u003c/p>\n\u003cp>Meanwhile, legal protections for workers are on the decline. Since the 1970s, American companies have moved away from hiring employees, replacing them with contract workers who are legally considered self-employed and aren’t entitled to the same rights as staff. According to a \u003ca href=\"https://www.npr.org/2018/01/22/578825135/rise-of-the-contract-workers-work-is-different-now\" target=\"_blank\" rel=\"noopener\">2018 NPR poll\u003c/a>, contract workers and freelancers could make up half of the U.S. labor pool in the next 10 years.\u003c/p>\n\u003cp>Labor expert Veena Dubal, a law professor at UC Hastings, says that this increased expectation of one’s work to be one’s passion is becoming the cultural justification for an economic trend to undercut worker protections. The idea of passion underlies the “be your own boss” rhetoric of gig companies like Uber and Lyft, who often depict the work as a side hustle for passionate people pursuing bigger dreams, and therefore not really a job. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“From my research, I’ve shown that people in those positions are controlled in the exact same way as people who are considered traditional employees,” Dubal says. “Nothing changes in their lives except they don’t get unemployment insurance, or they don’t get worker’s compensation. … They don’t get the minimum wage.”\u003c/p>\n\u003cp>How do artists and other workers get out of this predicament? Dubal says the first step might be changing the cultural narrative. “A recognition that we’re getting swindled is a huge first step in pushing back in this phenomenon,” she says.\u003c/p>\n\u003cp>“And a bigger second step is for people who have the privilege of having higher paid jobs to work less to create a culture in which working all the time is unacceptable,” she continues, “And for workers on the lower end of the socioeconomic spectrum to organize, to form unions, to form worker associations in which collective norms like working less for higher pay becomes the goal, the aim, the normal state of affairs.”\u003c/p>\n\u003cp>All in all, the fight for fair wages is an uphill battle—not only for artists, but for all workers currently bearing the brunt of wage stagnation and rising costs of housing and education.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Wednesday, April 24, Matt Dostal was working at Creative Growth, the Oakland art studio and gallery for people with disabilities, when a supervisor from the adjacent construction site visited to say the sidewalk and planters alongside the building would be demolished on Monday.\u003c/p>\n\u003cp>Dostal, the nonprofit’s studio manager, was incensed. He helped hand-lay the brick planters six years ago, and said the succulent garden provides therapeutic respite for Creative Growth artist-clients, many of whom sweep or relax in the rustic outcrop. Suddenly, it was to be destroyed within days.\u003c/p>\n\u003cp>“This was put to me as if they’re doing us a favor with the new sidewalk,” Dostal said.\u003c/p>\n\u003cp>The news prompted Creative Growth’s executive director, Elizabeth Brodersen, to write the contractor for Trammell Crow Residential, which is developing the six-story, 234-unit Alexan Webster apartment building next door, and say that the organization was prepared to take legal action.\u003c/p>\n\u003cfigure id=\"attachment_13857382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg\" alt=\"Dozens of East Bay Paratransit buses service Creative Growth daily.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dozens of East Bay Paratransit buses service Creative Growth daily. \u003ccite>(KQED/Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The builder’s superintendent replied to Brodersen that the planter was actually slated to remain, saying in an email that there “must be some confusion” and apologizing for knowing “very little about Creative Growth other than it is an art studio[.]”\u003c/p>\n\u003cp>To Dostal and Creative Growth leadership, it was only the latest example of developers so eager to remake the neighborhood that they’re trampling what’s already there. They say construction has damaged the building, caused interior flooding, disrupted public programming and reduced accessibility for disabled clients.\u003c/p>\n\u003cp>“We serve a vulnerable population whose voices and needs are often marginalized,” said Brodersen, the organization’s executive director since February. “We want respect and communication for the sake of the people who come to make art in a safe haven.”\u003c/p>\n\u003cp>“Of course there’s been the building damage, the wear and tear,” said Jane Timberlake, president of the board of directors. “But now that it’s affecting our artists, we really need to draw the line.”\u003c/p>\n\u003cfigure id=\"attachment_13857388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg\" alt=\"Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Noise, Flooding and Closures\u003c/h2>\n\u003cp>Founded in 1974 and in its current location since 1980, \u003ca href=\"http://www.creativegrowth.org/category/news/\">Creative Growth\u003c/a> has played a critical role in promoting artwork by people with disabilities, courting collectors and acclaim for artists such as \u003ca href=\"http://www.creativegrowth.org/artists/william-tyler/\" rel=\"noopener\" target=\"_blank\">William Tyler\u003c/a> and \u003ca href=\"https://www.newyorker.com/magazine/2014/12/01/wrap-star\" rel=\"noopener\" target=\"_blank\">Judith Scott\u003c/a>. (In \u003ca href=\"https://www.nytimes.com/2015/12/20/magazine/a-training-ground-for-untrained-artists.html\" rel=\"noopener\" target=\"_blank\">a 2015 feature story\u003c/a>, the \u003cem>New York Times\u003c/em> reported on the center’s “startling track record.”) The nonprofit has repeatedly rejected offers to buy its two-story building, and today stands as one of the largest arts organizations in Oakland.\u003c/p>\n\u003cp>Now, within a square block of the center at \u003ca href=\"https://www.google.com/maps/place/24th+St+%26+Valdez+St,+Oakland,+CA+94612/@37.8131511,-122.263988,3a,75y,242.01h,96.95t/data=!3m6!1e1!3m4!1s1jFtiU5v9wuOZTnD-pLG5Q!2e0!7i16384!8i8192!4m5!3m4!1s0x808f875318584e3d:0x31ab37087a661d5b!8m2!3d37.8131231!4d-122.2638258\" rel=\"noopener\" target=\"_blank\">24th & Valdez streets\u003c/a>, which serves roughly 100 people daily, more than 1,000 housing units are under construction in the newly dubbed “Broadway-Valdez District.” As a result, according to leadership, building damage has caused flooding, and its roof is being used for construction staging without permission.\u003c/p>\n\u003cp>Unexpected street closures also impact the dozens of East Bay Paratransit buses bringing developmentally and physically disabled artists to Creative Growth, and construction and utilities vehicles often block the loading zone. Due to the obstacles, the gallery ceased public openings during First Friday, the popular art walk and street fair, and foot traffic has declined overall.\u003c/p>\n\u003cp>Pete Salsman, a multimedia artist who comes to Creative Growth five days a week via East Bay Paratransit, said he’s noticed the construction disturb his peers. “The smell, the dust, the noise—I take these things out,” he said, pointing to his hearing aids, “and I can still feel the vibrations.”\u003c/p>\n\u003cp>Salsman added of the nearby construction, “I’d like to move into one of the apartments, but $2,700 is out of my price range.”\u003c/p>\n\u003cfigure id=\"attachment_13857381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857381\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg\" alt=\"Valdez Street seen from the rooftop of Creative Growth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Valdez Street seen from the rooftop of Creative Growth. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Interrupting Routine\u003c/h2>\n\u003cp>According to Dostal, the developers and contractors operating nearby don’t appreciate the sensitivity of Creative Growth’s clientele. People with developmental disabilities thrive on structure and support. Lately, though, there’s less consistency to paratransit comings and goings, let alone whether or not a sidewalk will be navigable by someone in a wheelchair.\u003c/p>\n\u003cp>Dostal said that for someone with a seizure disorder, for example, the frequent jackhammering is more than a nuisance—it’s dangerous. (Staff often hand out earplugs.) And he’s rarely notified of construction activity. “If you’re stressed out, you’re more likely to lash out at the artist next to you, and it starts to erode the really important sense of community here,” he added.\u003c/p>\n\u003cp>One afternoon recently, Valdez Street was closed entirely, and 24th Street was closed to eastbound traffic. The day before, Dostal recalled, the driver of a construction vehicle idling in Creative Growth’s loading zone wouldn’t say what job site he was servicing. Once again, Dostal didn’t know where to complain. “I’m supposed to be managing the studio, not the curb,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13857383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg\" alt=\"Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diagonally across the intersection from Creative Growth is the seven-story, 255-unit Hanover Northgate, a nearly complete “luxury apartments” complex; and on the other side of Valdez St. is the six-story, 196-unit Alta Waverly, another nearly complete, self-described “luxury apartments” development. But the most disruptive project for Creative Growth has been the Alexan Webster.\u003c/p>\n\u003cp>During the excavation phase of construction for the Alexan Webster in 2017, cracks in the walls and concrete floors at Creative Growth spanned the length of the building. And then there was flooding so intense, the organization was forced to close for a day. Becki Couch-Alvarado, Creative Growth’s previous executive director, said Trammell Crow paid for the repairs and lost revenue, and credited the developer for its responsiveness.\u003c/p>\n\u003cp>But as the frame of the building rose, problems persisted. Debris from the job site clogged the rooftop gutters, resulting in more seepage. As recently as Wednesday, Creative Growth’s roof was being used to support construction materials, which Timberlake said the organization did not permit. Staff in the upstairs offices said they’ve heard contractors’ footsteps.\u003c/p>\n\u003cp>“So they’re basically walking all over us,” Timberlake said.\u003c/p>\n\u003cfigure id=\"attachment_13857389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg\" alt=\"Scaffolding and debris rest on Creative Growth's roof.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Plywood and debris rest on Creative Growth’s roof. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Acknowledging Disruption\u003c/h2>\n\u003cp>In a statement, Trammell Crow contractor Suffolk Construction said workers are not authorized or instructed to use the roof, and that the plywood is protective. The developer also said it earlier discussed the scaffolding with Creative Growth leadership.\u003c/p>\n\u003cp>Bruce Dorfman, senior managing director with Trammell Crow, said in a statement that the developer has worked closely with Creative Growth, for example by acquiring artwork for the incoming apartments and taking responsibility for earlier building damage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We readily acknowledge that construction activities can be disruptive and we try to minimize their impact,” Dorfman said. “However, there are several other adjacent projects that likely have had a greater impact on Creative Growth’s access as we have not been using 24th Street for staging and have had no off-site work in front of their building (other than the mandated sidewalk work).”\u003c/p>\n\u003cp>Creative Growth leadership wants communication and reliable access to its designated loading zone, but it isn’t clear what will resolve the underlying conflict—an aesthetic and cultural rift between Creative Growth, with its asymmetrical succulents and hand-laid masonry, and the neatly landscaped apartments marketed to affluent commuters, which staff likened to an airport.\u003c/p>\n\u003cp>Part of the reason Creative Growth built the garden, recalled Couch-Alvarado, was to discourage drug use on the block.\u003c/p>\n\u003cp>“It’s funny,” she said. “Now our improvements are problems.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Leadership at Creative Growth say developers are impacting access, causing flooding and other building damage.",
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"title": "'They're Walking All Over Us': Construction Disrupts Artists with Disabilities in Oakland | KQED",
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"headline": "'They're Walking All Over Us': Construction Disrupts Artists with Disabilities in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, April 24, Matt Dostal was working at Creative Growth, the Oakland art studio and gallery for people with disabilities, when a supervisor from the adjacent construction site visited to say the sidewalk and planters alongside the building would be demolished on Monday.\u003c/p>\n\u003cp>Dostal, the nonprofit’s studio manager, was incensed. He helped hand-lay the brick planters six years ago, and said the succulent garden provides therapeutic respite for Creative Growth artist-clients, many of whom sweep or relax in the rustic outcrop. Suddenly, it was to be destroyed within days.\u003c/p>\n\u003cp>“This was put to me as if they’re doing us a favor with the new sidewalk,” Dostal said.\u003c/p>\n\u003cp>The news prompted Creative Growth’s executive director, Elizabeth Brodersen, to write the contractor for Trammell Crow Residential, which is developing the six-story, 234-unit Alexan Webster apartment building next door, and say that the organization was prepared to take legal action.\u003c/p>\n\u003cfigure id=\"attachment_13857382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg\" alt=\"Dozens of East Bay Paratransit buses service Creative Growth daily.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dozens of East Bay Paratransit buses service Creative Growth daily. \u003ccite>(KQED/Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The builder’s superintendent replied to Brodersen that the planter was actually slated to remain, saying in an email that there “must be some confusion” and apologizing for knowing “very little about Creative Growth other than it is an art studio[.]”\u003c/p>\n\u003cp>To Dostal and Creative Growth leadership, it was only the latest example of developers so eager to remake the neighborhood that they’re trampling what’s already there. They say construction has damaged the building, caused interior flooding, disrupted public programming and reduced accessibility for disabled clients.\u003c/p>\n\u003cp>“We serve a vulnerable population whose voices and needs are often marginalized,” said Brodersen, the organization’s executive director since February. “We want respect and communication for the sake of the people who come to make art in a safe haven.”\u003c/p>\n\u003cp>“Of course there’s been the building damage, the wear and tear,” said Jane Timberlake, president of the board of directors. “But now that it’s affecting our artists, we really need to draw the line.”\u003c/p>\n\u003cfigure id=\"attachment_13857388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg\" alt=\"Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Noise, Flooding and Closures\u003c/h2>\n\u003cp>Founded in 1974 and in its current location since 1980, \u003ca href=\"http://www.creativegrowth.org/category/news/\">Creative Growth\u003c/a> has played a critical role in promoting artwork by people with disabilities, courting collectors and acclaim for artists such as \u003ca href=\"http://www.creativegrowth.org/artists/william-tyler/\" rel=\"noopener\" target=\"_blank\">William Tyler\u003c/a> and \u003ca href=\"https://www.newyorker.com/magazine/2014/12/01/wrap-star\" rel=\"noopener\" target=\"_blank\">Judith Scott\u003c/a>. (In \u003ca href=\"https://www.nytimes.com/2015/12/20/magazine/a-training-ground-for-untrained-artists.html\" rel=\"noopener\" target=\"_blank\">a 2015 feature story\u003c/a>, the \u003cem>New York Times\u003c/em> reported on the center’s “startling track record.”) The nonprofit has repeatedly rejected offers to buy its two-story building, and today stands as one of the largest arts organizations in Oakland.\u003c/p>\n\u003cp>Now, within a square block of the center at \u003ca href=\"https://www.google.com/maps/place/24th+St+%26+Valdez+St,+Oakland,+CA+94612/@37.8131511,-122.263988,3a,75y,242.01h,96.95t/data=!3m6!1e1!3m4!1s1jFtiU5v9wuOZTnD-pLG5Q!2e0!7i16384!8i8192!4m5!3m4!1s0x808f875318584e3d:0x31ab37087a661d5b!8m2!3d37.8131231!4d-122.2638258\" rel=\"noopener\" target=\"_blank\">24th & Valdez streets\u003c/a>, which serves roughly 100 people daily, more than 1,000 housing units are under construction in the newly dubbed “Broadway-Valdez District.” As a result, according to leadership, building damage has caused flooding, and its roof is being used for construction staging without permission.\u003c/p>\n\u003cp>Unexpected street closures also impact the dozens of East Bay Paratransit buses bringing developmentally and physically disabled artists to Creative Growth, and construction and utilities vehicles often block the loading zone. Due to the obstacles, the gallery ceased public openings during First Friday, the popular art walk and street fair, and foot traffic has declined overall.\u003c/p>\n\u003cp>Pete Salsman, a multimedia artist who comes to Creative Growth five days a week via East Bay Paratransit, said he’s noticed the construction disturb his peers. “The smell, the dust, the noise—I take these things out,” he said, pointing to his hearing aids, “and I can still feel the vibrations.”\u003c/p>\n\u003cp>Salsman added of the nearby construction, “I’d like to move into one of the apartments, but $2,700 is out of my price range.”\u003c/p>\n\u003cfigure id=\"attachment_13857381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857381\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg\" alt=\"Valdez Street seen from the rooftop of Creative Growth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Valdez Street seen from the rooftop of Creative Growth. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Interrupting Routine\u003c/h2>\n\u003cp>According to Dostal, the developers and contractors operating nearby don’t appreciate the sensitivity of Creative Growth’s clientele. People with developmental disabilities thrive on structure and support. Lately, though, there’s less consistency to paratransit comings and goings, let alone whether or not a sidewalk will be navigable by someone in a wheelchair.\u003c/p>\n\u003cp>Dostal said that for someone with a seizure disorder, for example, the frequent jackhammering is more than a nuisance—it’s dangerous. (Staff often hand out earplugs.) And he’s rarely notified of construction activity. “If you’re stressed out, you’re more likely to lash out at the artist next to you, and it starts to erode the really important sense of community here,” he added.\u003c/p>\n\u003cp>One afternoon recently, Valdez Street was closed entirely, and 24th Street was closed to eastbound traffic. The day before, Dostal recalled, the driver of a construction vehicle idling in Creative Growth’s loading zone wouldn’t say what job site he was servicing. Once again, Dostal didn’t know where to complain. “I’m supposed to be managing the studio, not the curb,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13857383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg\" alt=\"Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diagonally across the intersection from Creative Growth is the seven-story, 255-unit Hanover Northgate, a nearly complete “luxury apartments” complex; and on the other side of Valdez St. is the six-story, 196-unit Alta Waverly, another nearly complete, self-described “luxury apartments” development. But the most disruptive project for Creative Growth has been the Alexan Webster.\u003c/p>\n\u003cp>During the excavation phase of construction for the Alexan Webster in 2017, cracks in the walls and concrete floors at Creative Growth spanned the length of the building. And then there was flooding so intense, the organization was forced to close for a day. Becki Couch-Alvarado, Creative Growth’s previous executive director, said Trammell Crow paid for the repairs and lost revenue, and credited the developer for its responsiveness.\u003c/p>\n\u003cp>But as the frame of the building rose, problems persisted. Debris from the job site clogged the rooftop gutters, resulting in more seepage. As recently as Wednesday, Creative Growth’s roof was being used to support construction materials, which Timberlake said the organization did not permit. Staff in the upstairs offices said they’ve heard contractors’ footsteps.\u003c/p>\n\u003cp>“So they’re basically walking all over us,” Timberlake said.\u003c/p>\n\u003cfigure id=\"attachment_13857389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg\" alt=\"Scaffolding and debris rest on Creative Growth's roof.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Plywood and debris rest on Creative Growth’s roof. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Acknowledging Disruption\u003c/h2>\n\u003cp>In a statement, Trammell Crow contractor Suffolk Construction said workers are not authorized or instructed to use the roof, and that the plywood is protective. The developer also said it earlier discussed the scaffolding with Creative Growth leadership.\u003c/p>\n\u003cp>Bruce Dorfman, senior managing director with Trammell Crow, said in a statement that the developer has worked closely with Creative Growth, for example by acquiring artwork for the incoming apartments and taking responsibility for earlier building damage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We readily acknowledge that construction activities can be disruptive and we try to minimize their impact,” Dorfman said. “However, there are several other adjacent projects that likely have had a greater impact on Creative Growth’s access as we have not been using 24th Street for staging and have had no off-site work in front of their building (other than the mandated sidewalk work).”\u003c/p>\n\u003cp>Creative Growth leadership wants communication and reliable access to its designated loading zone, but it isn’t clear what will resolve the underlying conflict—an aesthetic and cultural rift between Creative Growth, with its asymmetrical succulents and hand-laid masonry, and the neatly landscaped apartments marketed to affluent commuters, which staff likened to an airport.\u003c/p>\n\u003cp>Part of the reason Creative Growth built the garden, recalled Couch-Alvarado, was to discourage drug use on the block.\u003c/p>\n\u003cp>“It’s funny,” she said. “Now our improvements are problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "hot-summer-guide-2019-the-bay-areas-best-outdoor-concerts",
"title": "Hot Summer Guide 2019: The Bay Area's Best Outdoor Concerts",
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"headTitle": "Hot Summer Guide 2019: The Bay Area’s Best Outdoor Concerts | KQED",
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"content": "\u003cp>Summer in the Bay Area has no shortage of outdoor concerts and music festivals—some practically in our backyards, and others worth a scenic road trip to a gorgeous vineyard or beachside park. Whether you’re into low-key community gatherings or large-scale productions with stacked lineups, we’ve got you covered with our list of this summer’s must-see shows.\u003c/p>\n\u003cfigure id=\"attachment_13857335\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857335\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-800x450.jpg\" alt=\"Carlos Santana performs at Madison Square Garden on April 13, 2016 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana performs at Madison Square Garden on April 13, 2016 in New York City. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BottleRock\u003c/strong>\u003cbr>\n\u003cem>May 24–26, 2019\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\n\u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A wine-country summer staple, BottleRock returns with electro-pop band Imagine Dragons, rock’n’roll great Neil Young and indie-folk group Mumford & Sons as daily headliners. The rest of the lineup is even more eclectic, with highlights including guitar god Carlos Santana, super-producer Pharrell Williams and rapper Big Boi of Outkast. Local artists such as garage rock revivalist Shannon Shaw (plus her hand, Shannon and the Clams), Town legend Too Short and soul band Con Brio will rep the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13857750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-80865787-800x552.jpg\" alt=\"Musicians from the band Slightly Stoopid perform during day 1 of the Coachella Valley Music And Arts Festival held at the Empire Polo Field on April 25, 2008 in Indio, California. \" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-80865787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-80865787-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-80865787-768x530.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from the band Slightly Stoopid perform during day 1 of the Coachella Valley Music And Arts Festival held at the Empire Polo Field on April 25, 2008 in Indio, California. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>California Roots\u003c/strong>\u003cbr>\n\u003cem>May 24–26, 2019\u003cbr>\nMonterey County Fairgrounds, Monterey\u003cbr>\n\u003ca href=\"https://californiarootsfestival.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sunshine, reggae and camping less than a mile from the beach? Say no more. This year’s California Roots Music and Arts Festival stars California bands Stick Figure and Slightly Stoopid, who both fuse elements of reggae, pop-punk and funk into their sound, as well as the Grammy-nominated Rebelution. For out-of-town guests who prefer not to stay in hotels, the festival offers on-site, luxury glamping. Attendees who prefer the much cheaper option of regular camping can pitch their tents at Laguna Seca, where a shuttle will take them to and from Cali Roots.\u003c/p>\n\u003cfigure id=\"attachment_13805318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Thundercat performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Live at Lagunitas\u003c/strong>\u003cbr>\n\u003cem>May 27–Oct. 7, 2019\u003cbr>\nLagunitas Brewery, Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Lagunitas Brewery’s Petaluma Amphitheater has shaped up to be one of the North Bay’s most popular outdoor music venues, hosting a wide variety of up-and-coming and established artists. This summer’s highlights include the high-energy pop-punk band Fidlar on June 4, virtuoso bassist Thundercat on June 24 and folk-rock singer-songwriter James McMurtry on Aug. 5. Bonus for beer lovers: Lagunitas offers plenty of locally brewed beverages to choose from.\u003c/p>\n\u003cfigure id=\"attachment_13835712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13835712 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg\" alt=\"The members of Lumerians say their ideas often start in the kitchen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lumerians. \u003ccite>(Courtesy of Lumerians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Huichica Music Festival\u003c/strong>\u003cbr>\n\u003cem>June 7–8, 2019\u003cbr>\nGundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.huichica.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As mega-festivals such as Coachella get more popular every year, Huichica provides a low-key alternative for those who want to see great live music in a less crowded setting. Set against the stunning backdrop of a historic winery, this year’s Huichica features indie disco experimentalist Connan Mockasin, psych rockers Lumerians, SF treasure Chuck Prophet, indie rock outfit Real Estate and more.\u003c/p>\n\u003cfigure id=\"attachment_13839071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sol Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Phono del Sol\u003c/strong>\u003cbr>\n\u003cem>June 15, 2019\u003cbr>\nPotrero del Sol Park, San Francisco\u003cbr>\n\u003ca href=\"https://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back from a year-long hiatus, the free festival Phono Del Sol boasts a stacked lineup of must-see Bay Area rising stars. Hip-hop band Sol Development, whose uplifting work features social-justice themes and a rollicking instrumental section, performs, as well as experimental singer and loop pedal wiz Spellling. Ah-Mer-Ah-Su, whose delicate electropop soundtracked \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">a recent documentary\u003c/a> about trans activist Miss Major, is also slated to grace the stage, plus feminist rapper Queens D.Light and psych band Salami Rose Joe Lewis, who recently toured with Toro y Moi.\u003c/p>\n\u003cfigure id=\"attachment_13854290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-800x450.jpg\" alt=\"Mitski performs onstage during the 2017 Panorama Music Festival - Day 2 at Randall's Island on July 29, 2017 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitski performs during the 2017 Panorama Music Festival at Randall’s Island on July 29, 2017 in New York City. \u003ccite>(Nicholas Hunt/Getty Images for Panorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Stern Grove Festival\u003c/strong>\u003cbr>\n\u003cem>June 16–Aug. 18, 2019\u003cbr>\n19th Ave and Sloat Blvd., San Francisco\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/#concerts\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>One of the Bay Area’s most beloved free concert series, Stern Grove features a slate of rising stars, local talent and all-time greats. Indie rocker Mitski, whose \u003cem>Be the Cowboy \u003c/em>was one of KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">favorite 2018 albums\u003c/a>, performs July 14 (local singer-songwriter Madeline Kenney opens). The ’90s rap trio Digable Planets perform on June 16 with local bilingual hip-hop group Bang Data. July 7 presents a rare opportunity to see the San Francisco Symphony in a casual, outdoor setting, and the festival wraps up on Aug. 18 with a performance from soul music stars the Isley Brothers.\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11316316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Burger Boogaloo\u003c/strong>\u003cbr>\n\u003cem>July 6–7, 2019\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Now in its 10th year, Burger Boogaloo brings garage-punk weirdness to Oakland’s Mosswood Park, with filmmaker and counterculture icon John Waters as host. The festival provides a chance to catch old-school cult favorites such as the Jesus & Mary Chain, the Scientists and Dead Boys, plus newer acts such as Sheer Mag and Terry & Louie. Burger Boogaloo partners with the \u003ca href=\"http://homelessactioncenter.org/\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a> this year and encourages showgoers to donate to the nonprofit with their ticket purchase or at the festival.\u003c/p>\n\u003cfigure id=\"attachment_13857755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-492407402-800x566.jpg\" alt=\"Alex Davis and Phunne Stone of The Family Stone performs at the UAA Funk Break on Day 2 of the IEBA 2015 Conference on October 12, 2015 in Nashville, Tennessee. \" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-492407402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-492407402-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-492407402-768x543.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Davis and Phunne Stone of The Family Stone performs at the UAA Funk Break on Day 2 of the IEBA 2015 Conference on October 12, 2015 in Nashville, Tennessee. \u003ccite>(Jason Davis/Getty Images for IEBA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Jose Jazz Summer Fest\u003c/strong>\u003cbr>\n\u003cem>Aug. 9–11, 2019\u003cbr>\nPlaza de Cezar Chavez, San Jose\u003cbr>\n\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The San Jose Jazz Summer Fest is one of the South Bay’s most highly anticipated live music events, with a lineup of jazz, soul and blues legends, mid-career artists and up-and-comers alike. One of this year’s headliners is the Family Stone, born out of the pioneering Oakland funk band, with Sly Stone’s daughter Phunne Stone as bandleader. Rock’n’roll-Hall-of-Famers the O’Jays are set to perform as well, in addition to Afrofuturist psychedelic jazz sensations Sons of Kemet, Grammy-winning jazz contralto Dianne Reeves and Oakland’s well-loved and uplifting Interfaith Gospel Choir.\u003c/p>\n\u003cfigure id=\"attachment_13805124\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13805124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5.OL_.jpg\" alt=\"Kacey Musgraves at Outside Lands in 2014.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-520x371.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves at Outside Lands in 2014. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>\u003cbr>\n\u003cem>Aug. 9–11, 2019\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Paul Simon came out of retirement to headline this year’s Outside Lands, so you know it’s gonna be good. The long-running festival is one of the Bay Area’s largest and most popular, with Twenty One Pilots and Childish Gambino as 2019’s other big headliners. More acts to look forward to include country star Kacey Musgraves, Southern rap icon Lil Wayne, “Boo’d Up” singer Ella Mai and R&B and gospel legend Mavis Staples. Plus, up-and-coming Bay Area artists the Seshen, P-Lo and ALLBLACK also perform.\u003c/p>\n\u003cfigure id=\"attachment_13833809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg\" alt=\"Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \u003ccite>(Samuel Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>\u003cbr>\n\u003cem>Sept. 1, 2019\u003cbr>\nMexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sonido Clash celebrates left-of-center Chicanx and Latinx culture with live cumbia, twerk-worthy DJ sets, punk, indie and experimental bands, poetry readings and more. The fest was founded in 2016 by a party collective of the same name—one that’s been championing eclectic underground sounds in San Jose’s nightlife scene since the 2000s. Although this year’s festival lineup has yet to be announced, previous years have boasted self-described “Cholo goth” band Prayers, indie crooner Helado Negro and reggaeton producer Rosa Pistola.\u003c/p>\n\u003cfigure id=\"attachment_13840221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9400-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>\u003cbr>\n\u003cem>Sept. 2, 2019\u003cbr>\nOakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hiero Day is an Oakland staple, celebrating Bay Area rappers and R&B singers who hold it down for their community, as well as like-minded artists from across the country. The grassroots festival is curated by the influential hip-hop collective Hieroglyphics, who brought us hits like “You Never Know” and Souls of Mischief’s “93 Til Infinity.” The 2019 lineup hasn’t been released yet (that usually happens after the $19.93 tickets are sold out), but if the inclusion of Bun B, Goapele, Mistah Fab and Richie Rich in previous years is any indication, Hiero Day is always a good time for West Coast hip-hop lovers.\u003c/p>\n\n",
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"title": "Hot Summer Guide 2019: The Bay Area's Best Outdoor Concerts | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer in the Bay Area has no shortage of outdoor concerts and music festivals—some practically in our backyards, and others worth a scenic road trip to a gorgeous vineyard or beachside park. Whether you’re into low-key community gatherings or large-scale productions with stacked lineups, we’ve got you covered with our list of this summer’s must-see shows.\u003c/p>\n\u003cfigure id=\"attachment_13857335\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857335\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-800x450.jpg\" alt=\"Carlos Santana performs at Madison Square Garden on April 13, 2016 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/carlos-santana-GettyImages-521030302-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana performs at Madison Square Garden on April 13, 2016 in New York City. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BottleRock\u003c/strong>\u003cbr>\n\u003cem>May 24–26, 2019\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\n\u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A wine-country summer staple, BottleRock returns with electro-pop band Imagine Dragons, rock’n’roll great Neil Young and indie-folk group Mumford & Sons as daily headliners. The rest of the lineup is even more eclectic, with highlights including guitar god Carlos Santana, super-producer Pharrell Williams and rapper Big Boi of Outkast. Local artists such as garage rock revivalist Shannon Shaw (plus her hand, Shannon and the Clams), Town legend Too Short and soul band Con Brio will rep the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13857750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-80865787-800x552.jpg\" alt=\"Musicians from the band Slightly Stoopid perform during day 1 of the Coachella Valley Music And Arts Festival held at the Empire Polo Field on April 25, 2008 in Indio, California. \" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-80865787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-80865787-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-80865787-768x530.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from the band Slightly Stoopid perform during day 1 of the Coachella Valley Music And Arts Festival held at the Empire Polo Field on April 25, 2008 in Indio, California. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>California Roots\u003c/strong>\u003cbr>\n\u003cem>May 24–26, 2019\u003cbr>\nMonterey County Fairgrounds, Monterey\u003cbr>\n\u003ca href=\"https://californiarootsfestival.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sunshine, reggae and camping less than a mile from the beach? Say no more. This year’s California Roots Music and Arts Festival stars California bands Stick Figure and Slightly Stoopid, who both fuse elements of reggae, pop-punk and funk into their sound, as well as the Grammy-nominated Rebelution. For out-of-town guests who prefer not to stay in hotels, the festival offers on-site, luxury glamping. Attendees who prefer the much cheaper option of regular camping can pitch their tents at Laguna Seca, where a shuttle will take them to and from Cali Roots.\u003c/p>\n\u003cfigure id=\"attachment_13805318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Thundercat performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Thundercat-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Live at Lagunitas\u003c/strong>\u003cbr>\n\u003cem>May 27–Oct. 7, 2019\u003cbr>\nLagunitas Brewery, Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Lagunitas Brewery’s Petaluma Amphitheater has shaped up to be one of the North Bay’s most popular outdoor music venues, hosting a wide variety of up-and-coming and established artists. This summer’s highlights include the high-energy pop-punk band Fidlar on June 4, virtuoso bassist Thundercat on June 24 and folk-rock singer-songwriter James McMurtry on Aug. 5. Bonus for beer lovers: Lagunitas offers plenty of locally brewed beverages to choose from.\u003c/p>\n\u003cfigure id=\"attachment_13835712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13835712 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg\" alt=\"The members of Lumerians say their ideas often start in the kitchen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lumerians. \u003ccite>(Courtesy of Lumerians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Huichica Music Festival\u003c/strong>\u003cbr>\n\u003cem>June 7–8, 2019\u003cbr>\nGundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.huichica.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As mega-festivals such as Coachella get more popular every year, Huichica provides a low-key alternative for those who want to see great live music in a less crowded setting. Set against the stunning backdrop of a historic winery, this year’s Huichica features indie disco experimentalist Connan Mockasin, psych rockers Lumerians, SF treasure Chuck Prophet, indie rock outfit Real Estate and more.\u003c/p>\n\u003cfigure id=\"attachment_13839071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sol Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Phono del Sol\u003c/strong>\u003cbr>\n\u003cem>June 15, 2019\u003cbr>\nPotrero del Sol Park, San Francisco\u003cbr>\n\u003ca href=\"https://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back from a year-long hiatus, the free festival Phono Del Sol boasts a stacked lineup of must-see Bay Area rising stars. Hip-hop band Sol Development, whose uplifting work features social-justice themes and a rollicking instrumental section, performs, as well as experimental singer and loop pedal wiz Spellling. Ah-Mer-Ah-Su, whose delicate electropop soundtracked \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">a recent documentary\u003c/a> about trans activist Miss Major, is also slated to grace the stage, plus feminist rapper Queens D.Light and psych band Salami Rose Joe Lewis, who recently toured with Toro y Moi.\u003c/p>\n\u003cfigure id=\"attachment_13854290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-800x450.jpg\" alt=\"Mitski performs onstage during the 2017 Panorama Music Festival - Day 2 at Randall's Island on July 29, 2017 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-824332708.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitski performs during the 2017 Panorama Music Festival at Randall’s Island on July 29, 2017 in New York City. \u003ccite>(Nicholas Hunt/Getty Images for Panorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Stern Grove Festival\u003c/strong>\u003cbr>\n\u003cem>June 16–Aug. 18, 2019\u003cbr>\n19th Ave and Sloat Blvd., San Francisco\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/#concerts\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>One of the Bay Area’s most beloved free concert series, Stern Grove features a slate of rising stars, local talent and all-time greats. Indie rocker Mitski, whose \u003cem>Be the Cowboy \u003c/em>was one of KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">favorite 2018 albums\u003c/a>, performs July 14 (local singer-songwriter Madeline Kenney opens). The ’90s rap trio Digable Planets perform on June 16 with local bilingual hip-hop group Bang Data. July 7 presents a rare opportunity to see the San Francisco Symphony in a casual, outdoor setting, and the festival wraps up on Aug. 18 with a performance from soul music stars the Isley Brothers.\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11316316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Burger Boogaloo\u003c/strong>\u003cbr>\n\u003cem>July 6–7, 2019\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Now in its 10th year, Burger Boogaloo brings garage-punk weirdness to Oakland’s Mosswood Park, with filmmaker and counterculture icon John Waters as host. The festival provides a chance to catch old-school cult favorites such as the Jesus & Mary Chain, the Scientists and Dead Boys, plus newer acts such as Sheer Mag and Terry & Louie. Burger Boogaloo partners with the \u003ca href=\"http://homelessactioncenter.org/\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a> this year and encourages showgoers to donate to the nonprofit with their ticket purchase or at the festival.\u003c/p>\n\u003cfigure id=\"attachment_13857755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-492407402-800x566.jpg\" alt=\"Alex Davis and Phunne Stone of The Family Stone performs at the UAA Funk Break on Day 2 of the IEBA 2015 Conference on October 12, 2015 in Nashville, Tennessee. \" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-492407402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-492407402-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-492407402-768x543.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Davis and Phunne Stone of The Family Stone performs at the UAA Funk Break on Day 2 of the IEBA 2015 Conference on October 12, 2015 in Nashville, Tennessee. \u003ccite>(Jason Davis/Getty Images for IEBA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Jose Jazz Summer Fest\u003c/strong>\u003cbr>\n\u003cem>Aug. 9–11, 2019\u003cbr>\nPlaza de Cezar Chavez, San Jose\u003cbr>\n\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The San Jose Jazz Summer Fest is one of the South Bay’s most highly anticipated live music events, with a lineup of jazz, soul and blues legends, mid-career artists and up-and-comers alike. One of this year’s headliners is the Family Stone, born out of the pioneering Oakland funk band, with Sly Stone’s daughter Phunne Stone as bandleader. Rock’n’roll-Hall-of-Famers the O’Jays are set to perform as well, in addition to Afrofuturist psychedelic jazz sensations Sons of Kemet, Grammy-winning jazz contralto Dianne Reeves and Oakland’s well-loved and uplifting Interfaith Gospel Choir.\u003c/p>\n\u003cfigure id=\"attachment_13805124\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13805124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5.OL_.jpg\" alt=\"Kacey Musgraves at Outside Lands in 2014.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5.OL_-520x371.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves at Outside Lands in 2014. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>\u003cbr>\n\u003cem>Aug. 9–11, 2019\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Paul Simon came out of retirement to headline this year’s Outside Lands, so you know it’s gonna be good. The long-running festival is one of the Bay Area’s largest and most popular, with Twenty One Pilots and Childish Gambino as 2019’s other big headliners. More acts to look forward to include country star Kacey Musgraves, Southern rap icon Lil Wayne, “Boo’d Up” singer Ella Mai and R&B and gospel legend Mavis Staples. Plus, up-and-coming Bay Area artists the Seshen, P-Lo and ALLBLACK also perform.\u003c/p>\n\u003cfigure id=\"attachment_13833809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg\" alt=\"Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \u003ccite>(Samuel Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>\u003cbr>\n\u003cem>Sept. 1, 2019\u003cbr>\nMexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sonido Clash celebrates left-of-center Chicanx and Latinx culture with live cumbia, twerk-worthy DJ sets, punk, indie and experimental bands, poetry readings and more. The fest was founded in 2016 by a party collective of the same name—one that’s been championing eclectic underground sounds in San Jose’s nightlife scene since the 2000s. Although this year’s festival lineup has yet to be announced, previous years have boasted self-described “Cholo goth” band Prayers, indie crooner Helado Negro and reggaeton producer Rosa Pistola.\u003c/p>\n\u003cfigure id=\"attachment_13840221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9400-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>\u003cbr>\n\u003cem>Sept. 2, 2019\u003cbr>\nOakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hiero Day is an Oakland staple, celebrating Bay Area rappers and R&B singers who hold it down for their community, as well as like-minded artists from across the country. The grassroots festival is curated by the influential hip-hop collective Hieroglyphics, who brought us hits like “You Never Know” and Souls of Mischief’s “93 Til Infinity.” The 2019 lineup hasn’t been released yet (that usually happens after the $19.93 tickets are sold out), but if the inclusion of Bun B, Goapele, Mistah Fab and Richie Rich in previous years is any indication, Hiero Day is always a good time for West Coast hip-hop lovers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Filth Elder' John Waters Says There Are Still 'Plenty Of Rules' Left To Break",
"headTitle": "‘Filth Elder’ John Waters Says There Are Still ‘Plenty Of Rules’ Left To Break | KQED",
"content": "\u003cp>Cult filmmaker and self-described “filth elder” John Waters, 73, has plenty of ideas about what older people should and shouldn’t do.\u003c/p>\n\u003cp>The worst thing, he says, is to get a convertible: “Because believe me, old age and windswept do not go hand in hand. It’s really a bad look! You can’t be trying too hard to rebel [when] you’re older.”\u003c/p>\n\u003cp>Waters knows about being a rebel. He became famous for his 1972 film \u003cem>Pink Flamingos,\u003c/em> in which the characters compete for the title of filthiest person alive. That film became a midnight movie classic and led to other films, including \u003cem>Female Trouble\u003c/em> and \u003cem>Hairspray\u003c/em>.\u003c/p>\n\u003cp>Along the way, Waters became accepted in the mainstream more than he ever expected. \u003cem>Hairspray \u003c/em>was adapted into a Broadway musical, and he has also given a\u003ca href=\"https://vimeo.com/129312307\"> commencement address\u003c/a> and had museum retrospectives.\u003c/p>\n\u003cp>Though he jokes that he can’t be anarchist — “I have three homes!” — he adds, “There’s plenty of rules that you can still break. … I think you have to use humor and you can’t be so angry about it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “… what parent would be happy their child made ‘Pink Flamingos’? Really, none.”—John Waters [/pullquote]\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! This is the perfect contemporary art!” … It hasn’t spread. None of my guests have been rushed to the hospital from it. But I liked the idea that it’s a dangerous painting.\u003c/p>\n\u003cp>[aside postID='arts_10137298' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2014/06/notpsycho.jpg' target='_blank']\u003c/p>\n\u003cp>\u003cstrong>On his plans to be buried in Baltimore, in the same cemetery as his friends\u003c/strong>\u003c/p>\n\u003cp>It’s a small little graveyard. They handled Divine’s funeral very well. … Mink [Stole] is going to get buried there, Pat Moran … all my friends, so we call it “Disgraceland,” and really I like the idea of being buried with your friends. Most people do not do that.\u003c/p>\n\u003cp>Vincent Peranio, who does all the set designs for my movies, I said, “Maybe you could design [a tombstone] for me that looks old. That has moss on it or something,” but I don’t want any jokes on it, no. I just want the day I was born and the day I died and my name. I don’t want like, “That’s all, folks!” or anything like that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Filth+Elder%27+John+Waters+Says+There+Are+Still+%27Plenty+Of+Rules%27+Left+To+Break&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The cult filmmaker, 73, has plenty of ideas about what older people should and shouldn't do. \"You can't be trying too hard to rebel [when] you're older,\" Waters says. His new book is 'Mr. Know-It-All.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cult filmmaker and self-described “filth elder” John Waters, 73, has plenty of ideas about what older people should and shouldn’t do.\u003c/p>\n\u003cp>The worst thing, he says, is to get a convertible: “Because believe me, old age and windswept do not go hand in hand. It’s really a bad look! You can’t be trying too hard to rebel [when] you’re older.”\u003c/p>\n\u003cp>Waters knows about being a rebel. He became famous for his 1972 film \u003cem>Pink Flamingos,\u003c/em> in which the characters compete for the title of filthiest person alive. That film became a midnight movie classic and led to other films, including \u003cem>Female Trouble\u003c/em> and \u003cem>Hairspray\u003c/em>.\u003c/p>\n\u003cp>Along the way, Waters became accepted in the mainstream more than he ever expected. \u003cem>Hairspray \u003c/em>was adapted into a Broadway musical, and he has also given a\u003ca href=\"https://vimeo.com/129312307\"> commencement address\u003c/a> and had museum retrospectives.\u003c/p>\n\u003cp>Though he jokes that he can’t be anarchist — “I have three homes!” — he adds, “There’s plenty of rules that you can still break. … I think you have to use humor and you can’t be so angry about it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": " “… what parent would be happy their child made ‘Pink Flamingos’? Really, none.”—John Waters ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! This is the perfect contemporary art!” … It hasn’t spread. None of my guests have been rushed to the hospital from it. But I liked the idea that it’s a dangerous painting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On his plans to be buried in Baltimore, in the same cemetery as his friends\u003c/strong>\u003c/p>\n\u003cp>It’s a small little graveyard. They handled Divine’s funeral very well. … Mink [Stole] is going to get buried there, Pat Moran … all my friends, so we call it “Disgraceland,” and really I like the idea of being buried with your friends. Most people do not do that.\u003c/p>\n\u003cp>Vincent Peranio, who does all the set designs for my movies, I said, “Maybe you could design [a tombstone] for me that looks old. That has moss on it or something,” but I don’t want any jokes on it, no. I just want the day I was born and the day I died and my name. I don’t want like, “That’s all, folks!” or anything like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Filth+Elder%27+John+Waters+Says+There+Are+Still+%27Plenty+Of+Rules%27+Left+To+Break&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Silent Sky' Shines a Spotlight on a Woman in Love with Astronomy",
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"content": "\u003cp>Which is worse? To have your work minimized as boring and routine? Or trumpeted to the heavens but the credit hogged by the man you work for? These narratives are sadly common when you look at the history of women in science — but they make for good theater, as in the play \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> in San Jose.\u003ci>\u003c/i>\u003c/p>\n\u003cp>The play focuses on a woman named Henrietta Swan Leavitt, whose work laid the ground for later revelations, like the idea the universe is much bigger than our little solar system.\u003c/p>\n\u003cp>When the Harvard Observatory hired her at the turn of the 20th century, women weren’t allowed to look through its telescopes. The delicate dears might catch a chill in the evening air. Also, they could be paid a whole lot less than men.\u003c/p>\n\u003cp>Leavitt and other “computers,” as female mathematicians were called then, volunteered or worked for 30 cents an hour cataloguing the brightness of stars on photographic plates taken by astronomer Edward Charles Pickering. But Leavitt, looking down at those plates of Cepheid variable stars, had an a-ha moment. Well, two of them, really.\u003c/p>\n\u003cp>The brightness of these “variable” stars varies, from day to day or week to week. Leavitt figured out that the longer a star took to change brightness, the brighter it actually was. So, if a star took a longer time to change brightness than others but didn’t appear brighter, it must be farther away.\u003c/p>\n\u003cfigure id=\"attachment_13857560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg\" alt=\"Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at a clutch of these stars in the same astronomic neighborhood, the Magellanic Clouds, she came to another conclusion: if one star looked much brighter than another, it was probably brighter. Together, these observations help astronomers figure out relative distances between stars and the Earth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you know how quickly the star is changing brightness, you can actually measure its distance. It helped us establish the size and scale of the universe,” said \u003ca href=\"http://www.ucolick.org/~egates/\" target=\"_blank\" rel=\"noopener\">Elinor Gates\u003c/a> of Lick Observatory was a local science consultant for the City Lights production of Silent Sky, written by \u003ca href=\"http://laurengunderson.com\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> of San Francisco.\u003c/p>\n\u003cp>Gunderson has a taste for science and a habit of profiling women under-represented in history. Leavitt, she said, was an obvious choice. “Her story is a beautiful one. Her scientific discovery is profound. She really had a major impact. It was a real pleasure and an honor to tell her story,” Gunderson said.\u003c/p>\n\u003cp>\u003cem>Silent Sky\u003c/em> has been making the rounds of small community theaters around the country since its publication in 2010. It debuted in the Bay Area in \u003ca href=\"https://www.kqed.org/arts/129311/seeking-answers-in-a-silent-sky\" target=\"_blank\" rel=\"noopener\">2014\u003c/a> with a \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> production.\u003c/p>\n\u003cp>Science and Leavitt’s love for it may be at the heart of the play, but Gunderson externalizes what could be a quiet internal drama by exploring Leavitt’s relationships with family and colleagues.\u003c/p>\n\u003cfigure id=\"attachment_13857562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg\" alt=\""Pickering's Harem," so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming.\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-160x117.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-768x562.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1020x746.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1200x878.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers.jpeg 1762w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Pickering’s Harem,” so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming. \u003ccite>(Photo: Courtesy of Harvard College Observatory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Married sister Margaret provides a convenient Victorian Era counterpoint, content to keep to the domestic sphere as society expected at the time.\u003c/p>\n\u003cp>Wisecracking buddies Williamina Fleming and Annie Jump Cannon stand in for the team of Harvard computers Leavitt worked with. Of course, Fleming and Cannon were accomplished astronomers as well, stultified in many of the same ways. The Harvard Computers in that room you see pictured above were full of scientific talent, and if they weren’t respected properly, they were surrounded by data they could use.\u003c/p>\n\u003cp>In real life, Cannon shares credit with Pickering for designing the Harvard Classification Scheme, the first serious attempt to classify stars based on their temperatures and spectral types. Fleming, who first came to Harvard to work as a maid, is best known now for her discovery of the Horsehead Nebula in 1888.\u003c/p>\n\u003cp>“It’s not actually the story of one incredible woman. It’s the story of four!” said Gunderson. “I’m inspired because it’s a true story. They were doing this menial work, but even so, they discovered things that changed the course of astronomy.”\u003c/p>\n\u003cp>“It’s about all of these people who are just so hungry for the truth,” said actress \u003ca href=\"http://www.mariagmarquis.com\" target=\"_blank\" rel=\"noopener\">Maria Marquis\u003c/a>, who plays Leavitt. Her favorite line in the play? “The real point is seeing something bigger, and knowing you’re a small part of it, if you’re lucky. In the end, that is a life well lived.”\u003c/p>\n\u003cfigure id=\"attachment_13857559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg\" alt=\"For women in the early 1900s, balancing career and family was never easy. Here, Henrietta's (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For women in the early 1900s, balancing career and family was never easy. Here, Henrietta’s (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13853573,forum_2010101864798,news_10342438' label='Related Coverage']Marquis is a stand in for all of us who admire astronomy from a distance. “If you talk to astronomers, they all know who [Leavitt] is. But we aren’t taught about her at all. So I did a bunch of research then, after being cast, and was like, ‘Why are we not yelling her name from the rooftops?’”\u003c/p>\n\u003cp>Leavitt did publish her findings, and her name was on those papers, but their importance didn’t become clear to the world until years later, when Edwin Hubble used her work to show how the universe is expanding.\u003c/p>\n\u003cp>Hubble often said Leavitt deserved a Nobel Prize for her work, but even though he was a nominator on the Nobel committee, it was Swedish mathematician Gustaf Mittag-Leffler who tried to nominate Leavitt in 1924. He was too late. Leavitt died in 1921, and Nobel Prizes can’t be awarded posthumously.\u003c/p>\n\u003cp>She never got proper credit during her lifetime, but Leavitt’s work lit the way for later discoveries. It would take decades for the rest of the world to catch up to a woman with an irrepressible passion for astronomy.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Silent Sky \u003c/strong>runs May 16 – June 16, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Which is worse? To have your work minimized as boring and routine? Or trumpeted to the heavens but the credit hogged by the man you work for? These narratives are sadly common when you look at the history of women in science — but they make for good theater, as in the play \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> in San Jose.\u003ci>\u003c/i>\u003c/p>\n\u003cp>The play focuses on a woman named Henrietta Swan Leavitt, whose work laid the ground for later revelations, like the idea the universe is much bigger than our little solar system.\u003c/p>\n\u003cp>When the Harvard Observatory hired her at the turn of the 20th century, women weren’t allowed to look through its telescopes. The delicate dears might catch a chill in the evening air. Also, they could be paid a whole lot less than men.\u003c/p>\n\u003cp>Leavitt and other “computers,” as female mathematicians were called then, volunteered or worked for 30 cents an hour cataloguing the brightness of stars on photographic plates taken by astronomer Edward Charles Pickering. But Leavitt, looking down at those plates of Cepheid variable stars, had an a-ha moment. Well, two of them, really.\u003c/p>\n\u003cp>The brightness of these “variable” stars varies, from day to day or week to week. Leavitt figured out that the longer a star took to change brightness, the brighter it actually was. So, if a star took a longer time to change brightness than others but didn’t appear brighter, it must be farther away.\u003c/p>\n\u003cfigure id=\"attachment_13857560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg\" alt=\"Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at a clutch of these stars in the same astronomic neighborhood, the Magellanic Clouds, she came to another conclusion: if one star looked much brighter than another, it was probably brighter. Together, these observations help astronomers figure out relative distances between stars and the Earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you know how quickly the star is changing brightness, you can actually measure its distance. It helped us establish the size and scale of the universe,” said \u003ca href=\"http://www.ucolick.org/~egates/\" target=\"_blank\" rel=\"noopener\">Elinor Gates\u003c/a> of Lick Observatory was a local science consultant for the City Lights production of Silent Sky, written by \u003ca href=\"http://laurengunderson.com\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> of San Francisco.\u003c/p>\n\u003cp>Gunderson has a taste for science and a habit of profiling women under-represented in history. Leavitt, she said, was an obvious choice. “Her story is a beautiful one. Her scientific discovery is profound. She really had a major impact. It was a real pleasure and an honor to tell her story,” Gunderson said.\u003c/p>\n\u003cp>\u003cem>Silent Sky\u003c/em> has been making the rounds of small community theaters around the country since its publication in 2010. It debuted in the Bay Area in \u003ca href=\"https://www.kqed.org/arts/129311/seeking-answers-in-a-silent-sky\" target=\"_blank\" rel=\"noopener\">2014\u003c/a> with a \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> production.\u003c/p>\n\u003cp>Science and Leavitt’s love for it may be at the heart of the play, but Gunderson externalizes what could be a quiet internal drama by exploring Leavitt’s relationships with family and colleagues.\u003c/p>\n\u003cfigure id=\"attachment_13857562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg\" alt=\""Pickering's Harem," so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming.\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-160x117.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-768x562.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1020x746.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1200x878.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers.jpeg 1762w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Pickering’s Harem,” so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming. \u003ccite>(Photo: Courtesy of Harvard College Observatory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Married sister Margaret provides a convenient Victorian Era counterpoint, content to keep to the domestic sphere as society expected at the time.\u003c/p>\n\u003cp>Wisecracking buddies Williamina Fleming and Annie Jump Cannon stand in for the team of Harvard computers Leavitt worked with. Of course, Fleming and Cannon were accomplished astronomers as well, stultified in many of the same ways. The Harvard Computers in that room you see pictured above were full of scientific talent, and if they weren’t respected properly, they were surrounded by data they could use.\u003c/p>\n\u003cp>In real life, Cannon shares credit with Pickering for designing the Harvard Classification Scheme, the first serious attempt to classify stars based on their temperatures and spectral types. Fleming, who first came to Harvard to work as a maid, is best known now for her discovery of the Horsehead Nebula in 1888.\u003c/p>\n\u003cp>“It’s not actually the story of one incredible woman. It’s the story of four!” said Gunderson. “I’m inspired because it’s a true story. They were doing this menial work, but even so, they discovered things that changed the course of astronomy.”\u003c/p>\n\u003cp>“It’s about all of these people who are just so hungry for the truth,” said actress \u003ca href=\"http://www.mariagmarquis.com\" target=\"_blank\" rel=\"noopener\">Maria Marquis\u003c/a>, who plays Leavitt. Her favorite line in the play? “The real point is seeing something bigger, and knowing you’re a small part of it, if you’re lucky. In the end, that is a life well lived.”\u003c/p>\n\u003cfigure id=\"attachment_13857559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg\" alt=\"For women in the early 1900s, balancing career and family was never easy. Here, Henrietta's (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For women in the early 1900s, balancing career and family was never easy. Here, Henrietta’s (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Marquis is a stand in for all of us who admire astronomy from a distance. “If you talk to astronomers, they all know who [Leavitt] is. But we aren’t taught about her at all. So I did a bunch of research then, after being cast, and was like, ‘Why are we not yelling her name from the rooftops?’”\u003c/p>\n\u003cp>Leavitt did publish her findings, and her name was on those papers, but their importance didn’t become clear to the world until years later, when Edwin Hubble used her work to show how the universe is expanding.\u003c/p>\n\u003cp>Hubble often said Leavitt deserved a Nobel Prize for her work, but even though he was a nominator on the Nobel committee, it was Swedish mathematician Gustaf Mittag-Leffler who tried to nominate Leavitt in 1924. He was too late. Leavitt died in 1921, and Nobel Prizes can’t be awarded posthumously.\u003c/p>\n\u003cp>She never got proper credit during her lifetime, but Leavitt’s work lit the way for later discoveries. It would take decades for the rest of the world to catch up to a woman with an irrepressible passion for astronomy.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Silent Sky \u003c/strong>runs May 16 – June 16, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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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"marketplace": {
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"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",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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": {
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"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?",
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"order": 11
},
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"on-the-media": {
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"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",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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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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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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