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"content": "\u003cp>For decades, Mythili Kumar, co-founder and artistic director of the \u003ca href=\"https://abhinaya.org\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance Company\u003c/a> of San Jose, has used the classic South Indian dance form of Bharatanatyam to talk about contemporary topics, like social justice. Because I was in the Bay Area, I’m doing certain things!” she exclaims with enthusiasm.\u003c/p>\n\u003cp>Over the years, Kumar has choreographed dance pieces exploring the work and stories of voices as varied as the Indian author \u003ca href=\"http://www.chitradivakaruni.com\" target=\"_blank\" rel=\"noopener\">Chitra Banerjee Divakaruni\u003c/a>, Nelson Mandela, and Cesar Chavez. The company has also collaborated with modern dance troupes, Japanese Taiko drummers and a Balinese gamelan ensemble\u003c/p>\n\u003cp>Today, Abhinaya Dance performs \u003cem>I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr\u003c/em>. at the \u003ca href=\"http://oacc.cc\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. It’s a restaging of excerpts from \u003cem>Stories of Justice\u003c/em>, presented in November 2018 in San Jose.\u003c/p>\n\u003cp>Watch Kumar’s daughter, dancer and choreographer Rasika Kumar, perform her work exploring the Rosa Parks’ story:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=VmR9ewSehz8]\u003c/p>\n\u003cp>[aside postID='arts_10545681,arts_13837387,arts_11511800' label='Related Coverage']When you think about it, there’s no reason the ancient stylistic vocabulary has to stick to stories of Hindu gods and goddesses. Kumar notes Bharatanatyam is a natural and flexible story-telling medium. “The dancer takes the form of the character, takes the expressions of the character, and with the hands, the story is narrated.”\u003c/p>\n\u003cp>Contemporary costumes and music help, too. Working with original music by \u003ca href=\"https://www.youtube.com/watch?v=izisDG8BpI0\" target=\"_blank\" rel=\"noopener\">Asha Ramesh\u003c/a> of San Jose that blends the Carnatic tradition with jazz, the dancers tackle topics ranging from Rosa Parks refusing to give up her seat on a bus in 1955 Montgomery to the arrest just last year of two African-American men at a Philadelphia Starbucks.\u003c/p>\n\u003cp>To Kumar, it’s all part of a continuum stretching back to the start of civil rights as we understand it today: Mahatma Gandhi’s campaign to free India from British rule.\u003c/p>\n\u003cfigure id=\"attachment_13856072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg\" alt=\"Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez. \u003ccite>(Photo: Courtesy of Santhosh Selvaraj)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Civil resistance came as a result of them following the principle of ahimsa, or non violence that Ghandi propagated in his fight against the British. So we start with Ghandi’s inspiration. Ghandi’s inspiration comes from the Bhagavad Gita. So the spiritual aspect is always there in our dance, in some form or the other,” Kumar said.\u003c/p>\n\u003cp>The company has traveled to New Jersey, New York, Chicago and St. Louis, but Kumar prefers to stay close to home, serving audiences in the San Francisco Bay Area.\u003c/p>\n\u003cp>This region is rich with dance troupes serving up the classics to Indian-Americans who want a taste of home, and want their children to be exposed to this part of their cultural heritage. Kumar says there is also an appetite for dance that reflects the audience’s American heritage, reflected and elevated through the sights and souths of Bharatanatyam.\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\">\u003cstrong>Abhinaya Dance Company\u003c/strong> performs\u003cstrong> I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr.\u003c/strong> at the Oakland Asian Cultural Center April 27, 2019. For more info, click \u003cstrong>\u003ca href=\"http://www.abhinaya.org/portfolio-item/i-have-a-dream\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>. Also, at the Cowell Theater as part of the SF International Arts Festival on May 25, 2019. For more info, click \u003ca href=\"https://abhinaya.org/portfolio-item/2019-events/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When you think about it, there’s no reason the ancient stylistic vocabulary has to stick to stories of Hindu gods and goddesses. Kumar notes Bharatanatyam is a natural and flexible story-telling medium. “The dancer takes the form of the character, takes the expressions of the character, and with the hands, the story is narrated.”\u003c/p>\n\u003cp>Contemporary costumes and music help, too. Working with original music by \u003ca href=\"https://www.youtube.com/watch?v=izisDG8BpI0\" target=\"_blank\" rel=\"noopener\">Asha Ramesh\u003c/a> of San Jose that blends the Carnatic tradition with jazz, the dancers tackle topics ranging from Rosa Parks refusing to give up her seat on a bus in 1955 Montgomery to the arrest just last year of two African-American men at a Philadelphia Starbucks.\u003c/p>\n\u003cp>To Kumar, it’s all part of a continuum stretching back to the start of civil rights as we understand it today: Mahatma Gandhi’s campaign to free India from British rule.\u003c/p>\n\u003cfigure id=\"attachment_13856072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg\" alt=\"Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez. \u003ccite>(Photo: Courtesy of Santhosh Selvaraj)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Civil resistance came as a result of them following the principle of ahimsa, or non violence that Ghandi propagated in his fight against the British. So we start with Ghandi’s inspiration. Ghandi’s inspiration comes from the Bhagavad Gita. So the spiritual aspect is always there in our dance, in some form or the other,” Kumar said.\u003c/p>\n\u003cp>The company has traveled to New Jersey, New York, Chicago and St. Louis, but Kumar prefers to stay close to home, serving audiences in the San Francisco Bay Area.\u003c/p>\n\u003cp>This region is rich with dance troupes serving up the classics to Indian-Americans who want a taste of home, and want their children to be exposed to this part of their cultural heritage. Kumar says there is also an appetite for dance that reflects the audience’s American heritage, reflected and elevated through the sights and souths of Bharatanatyam.\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\">\u003cstrong>Abhinaya Dance Company\u003c/strong> performs\u003cstrong> I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr.\u003c/strong> at the Oakland Asian Cultural Center April 27, 2019. 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"content": "\u003cp>In the early 1970s, the singer-songwriter Danny O’Keefe had a “very mellow, beautiful friend,” as he told \u003cem>Rolling Stone\u003c/em> magazine, who’d lived too hard and was paying the consequences. Heart attacks and pain pills burdened the guy’s life, and O’Keefe, himself rolling into his thirties, identified. O’Keefe told his friend’s story in the ballad “Good Time Charlie’s Got the Blues” – one of the loveliest, most soothing accounts of creeping oblivion popular music has produced. It was a hit for the Washington state-born singer-songwriter and remains a favorite for others to cover, from \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16320091/waylon-jennings\">Waylon Jennings\u003c/a> to \u003ca href=\"https://www.npr.org/artists/167283601/dwight-yoakam\">Dwight Yoakam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856014\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-02167991bd9d1b588e0de1ebc8a2f7555d655541-800x600.jpg\" alt=\""Hello Sunshine" is the first single from Bruce Springsteen's upcoming album, 'Western Stars.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">“Hello Sunshine” is the first single from Bruce Springsteen’s upcoming album, ‘Western Stars.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Sunshine,” the new song from \u003ca href=\"https://www.npr.org/artists/14837922/bruce-springsteen\">Bruce Springsteen\u003c/a>‘s upcoming album \u003cem>Western Stars\u003c/em> (to be released June 14) dwells within the same uneasy drift. It begins with a sharp snare drum fill interacting with the sleepy undertow of a fifth interval on the bass – the sonic equivalent of a speedball. Springsteen intones: “Had enough of heartbreak and pain, had a little sweet spot for the rain.” Up close to the mic, his voice conveys its usual depth and scope, but a smudge of weariness, too. As the arrangement grows more complex, rich with strings and pedal steel guitar, the lyrics stay simple. “You know I always love the lonely towns, those empty streets no one around,” Springsteen continues. Then, in a line that might remind you of \u003ca href=\"https://www.npr.org/artists/15396875/willie-nelson\">Willie Nelson\u003c/a>: “You fall in love with lonely, you end up that way.”\u003c/p>\n\u003cp>The song reaches tentatively toward optimism with its orchestral swell and its title line, which warily welcomes the sunshine that dispels the grey mood of the rest of the song. But this ballad lives within the same melancholy space as O’Keefe’s does, alongside others by the likes of \u003ca href=\"https://www.npr.org/artists/17080204/jimmy-webb\">Jimmy Webb\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15774700/john-hartford\">John Hartford\u003c/a> and \u003ca href=\"https://www.npr.org/artists/126894870/kris-kristofferson\">Kris Kristofferson\u003c/a>. Springsteen has talked about being inspired by these songwriters who captured the pensive mood of the early 1970s, especially around and above L.A.’s Sunset Strip, where the counterculture and the pop biz had collided in ways that were deeply fruitful, producing songs that were both easy to listen to and emotionally complex. There’s also a Nashvillian cool to producer Ron Aniello’s arrangement that bodes well for fans who recognize, in Springsteen’s mature voice, a kinship with great country philosophers like Nelson and \u003ca href=\"https://www.npr.org/artists/129612752/charlie-rich\">Charlie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13855877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/springsteen_ws_photo2-8414899eff16fe11064df4156010ecb8bb81e769-800x600.jpg\" alt=\"Bruce Springsteen's first new studio album in five years will be called Western Stars.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen’s first new studio album in five years will be called ‘Western Stars.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song titles Springsteen has shared from \u003cem>Western Stars \u003c/em>suggest that the album will travel the heart-worn highway from Music City to Laurel Canyon: “Somewhere North of Nashville,” “Tucson Train,” “Moonlight Motel.” This song makes it clear that along with some possible high desert cowboy songs – there’s a horse on the album cover, after all – Springsteen will provide listeners with plenty of explorations of life behind closed doors during uncertain times. It’s interesting, though not unprecedented, for the Boss to be exploring the adult-contemporary sonic palette and worldview that his own mid-1970s albums, raucous and raggedy, rebelled against. Calling this a solo album, though he made it with many collaborators including his longtime producer Ron Aniello, original E Street Band keyboard player David Sancious, and the multi-instrumentalist and genius song-shaper Jon Brion, Springsteen is drawing connections between this new music and earlier inner journeys like \u003cem>Tunnel of Love\u003c/em> and \u003cem>Working on a Dream\u003c/em>. It’s hard to know if “Hello Sunshine” reflects the dominant mood of \u003cem>Western Stars\u003c/em> or will prove to be an outlier, but its contemplative tone seems like a natural extension of Springsteen’s memoiristic Broadway show – and a good place for a man who’s expert in confronting the blues to dwell.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Finds+A+New+Sound+By+Looking+To+The+Past&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, the singer-songwriter Danny O’Keefe had a “very mellow, beautiful friend,” as he told \u003cem>Rolling Stone\u003c/em> magazine, who’d lived too hard and was paying the consequences. Heart attacks and pain pills burdened the guy’s life, and O’Keefe, himself rolling into his thirties, identified. O’Keefe told his friend’s story in the ballad “Good Time Charlie’s Got the Blues” – one of the loveliest, most soothing accounts of creeping oblivion popular music has produced. It was a hit for the Washington state-born singer-songwriter and remains a favorite for others to cover, from \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16320091/waylon-jennings\">Waylon Jennings\u003c/a> to \u003ca href=\"https://www.npr.org/artists/167283601/dwight-yoakam\">Dwight Yoakam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856014\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-02167991bd9d1b588e0de1ebc8a2f7555d655541-800x600.jpg\" alt=\""Hello Sunshine" is the first single from Bruce Springsteen's upcoming album, 'Western Stars.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">“Hello Sunshine” is the first single from Bruce Springsteen’s upcoming album, ‘Western Stars.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Sunshine,” the new song from \u003ca href=\"https://www.npr.org/artists/14837922/bruce-springsteen\">Bruce Springsteen\u003c/a>‘s upcoming album \u003cem>Western Stars\u003c/em> (to be released June 14) dwells within the same uneasy drift. It begins with a sharp snare drum fill interacting with the sleepy undertow of a fifth interval on the bass – the sonic equivalent of a speedball. Springsteen intones: “Had enough of heartbreak and pain, had a little sweet spot for the rain.” Up close to the mic, his voice conveys its usual depth and scope, but a smudge of weariness, too. As the arrangement grows more complex, rich with strings and pedal steel guitar, the lyrics stay simple. “You know I always love the lonely towns, those empty streets no one around,” Springsteen continues. Then, in a line that might remind you of \u003ca href=\"https://www.npr.org/artists/15396875/willie-nelson\">Willie Nelson\u003c/a>: “You fall in love with lonely, you end up that way.”\u003c/p>\n\u003cp>The song reaches tentatively toward optimism with its orchestral swell and its title line, which warily welcomes the sunshine that dispels the grey mood of the rest of the song. But this ballad lives within the same melancholy space as O’Keefe’s does, alongside others by the likes of \u003ca href=\"https://www.npr.org/artists/17080204/jimmy-webb\">Jimmy Webb\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15774700/john-hartford\">John Hartford\u003c/a> and \u003ca href=\"https://www.npr.org/artists/126894870/kris-kristofferson\">Kris Kristofferson\u003c/a>. Springsteen has talked about being inspired by these songwriters who captured the pensive mood of the early 1970s, especially around and above L.A.’s Sunset Strip, where the counterculture and the pop biz had collided in ways that were deeply fruitful, producing songs that were both easy to listen to and emotionally complex. There’s also a Nashvillian cool to producer Ron Aniello’s arrangement that bodes well for fans who recognize, in Springsteen’s mature voice, a kinship with great country philosophers like Nelson and \u003ca href=\"https://www.npr.org/artists/129612752/charlie-rich\">Charlie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13855877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/springsteen_ws_photo2-8414899eff16fe11064df4156010ecb8bb81e769-800x600.jpg\" alt=\"Bruce Springsteen's first new studio album in five years will be called Western Stars.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen’s first new studio album in five years will be called ‘Western Stars.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song titles Springsteen has shared from \u003cem>Western Stars \u003c/em>suggest that the album will travel the heart-worn highway from Music City to Laurel Canyon: “Somewhere North of Nashville,” “Tucson Train,” “Moonlight Motel.” This song makes it clear that along with some possible high desert cowboy songs – there’s a horse on the album cover, after all – Springsteen will provide listeners with plenty of explorations of life behind closed doors during uncertain times. It’s interesting, though not unprecedented, for the Boss to be exploring the adult-contemporary sonic palette and worldview that his own mid-1970s albums, raucous and raggedy, rebelled against. Calling this a solo album, though he made it with many collaborators including his longtime producer Ron Aniello, original E Street Band keyboard player David Sancious, and the multi-instrumentalist and genius song-shaper Jon Brion, Springsteen is drawing connections between this new music and earlier inner journeys like \u003cem>Tunnel of Love\u003c/em> and \u003cem>Working on a Dream\u003c/em>. It’s hard to know if “Hello Sunshine” reflects the dominant mood of \u003cem>Western Stars\u003c/em> or will prove to be an outlier, but its contemplative tone seems like a natural extension of Springsteen’s memoiristic Broadway show – and a good place for a man who’s expert in confronting the blues to dwell.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Finds+A+New+Sound+By+Looking+To+The+Past&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bruce Springsteen's 'Western Stars' is an Ode to the Sounds of California",
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"content": "\u003cp>The Boss is back with his first new studio album in five years. \u003cem>Western\u003c/em> \u003cem>Stars \u003c/em>is due out June 14 on Columbia Records and, according to a press release announcing the record, will be largely influenced by the Southern California pop sounds of the late ’60s and early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13855878\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855878 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg\" alt=\"'Western Stars' is due out June 14 on Columbia Records\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Western Stars’ is due out June 14 on Columbia Records \u003ccite>(Kalle Gustafsson / trunkarchive.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This record is a return to my solo recordings,” Springsteen says in a statement, “featuring character-driven songs and sweeping, cinematic orchestral arrangements. It’s a jewel box of a record.”\u003c/p>\n\u003cp>Springsteen reunited with producer Ron Aniello for \u003cem>Western Stars\u003c/em>. The two previously worked together on Springsteen’s last two studio albums, 2014’s \u003cem>High Hopes \u003c/em>and 2012’s \u003cem>Wrecking Ball\u003c/em>. The new album also features guest appearances by more than 20 other players, including multi-instrumentalist and composer Jon Brion, violinist and singer Soozie Tyrell and former E Street Band member David Sancious.\u003c/p>\n\u003cp>The announcement of \u003cem>Western Stars \u003c/em>comes just ahead of its first single, “Hello Sunshine,” which is set to hit streaming services just after midnight ET Thursday night (12 a.m. Friday).\u003c/p>\n\u003cp>\u003cem>Western Stars \u003c/em>follows last year’s \u003cem>Springsteen on Broadway, \u003c/em>the soundtrack to his yearlong concert residency at the Walter Kerr Theater in New York.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Western Stars \u003c/em>full track listing:\u003c/p>\n\u003col>\n\u003cli>Hitch Hikin’\u003c/li>\n\u003cli>The Wayfarer\u003c/li>\n\u003cli>Tucson Train\u003c/li>\n\u003cli>Western Stars\u003c/li>\n\u003cli>Sleepy Joe’s Café\u003c/li>\n\u003cli>Drive Fast (The Stuntman)\u003c/li>\n\u003cli>Chasin’ Wild Horses\u003c/li>\n\u003cli>Sundown\u003c/li>\n\u003cli>Somewhere North of Nashville\u003c/li>\n\u003cli>Stones\u003c/li>\n\u003cli>There Goes My Miracle\u003c/li>\n\u003cli>Hello Sunshine\u003c/li>\n\u003cli>Moonlight Motel\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Boss is back with his first new studio album in five years. \u003cem>Western\u003c/em> \u003cem>Stars \u003c/em>is due out June 14 on Columbia Records and, according to a press release announcing the record, will be largely influenced by the Southern California pop sounds of the late ’60s and early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13855878\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855878 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg\" alt=\"'Western Stars' is due out June 14 on Columbia Records\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Western Stars’ is due out June 14 on Columbia Records \u003ccite>(Kalle Gustafsson / trunkarchive.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This record is a return to my solo recordings,” Springsteen says in a statement, “featuring character-driven songs and sweeping, cinematic orchestral arrangements. It’s a jewel box of a record.”\u003c/p>\n\u003cp>Springsteen reunited with producer Ron Aniello for \u003cem>Western Stars\u003c/em>. The two previously worked together on Springsteen’s last two studio albums, 2014’s \u003cem>High Hopes \u003c/em>and 2012’s \u003cem>Wrecking Ball\u003c/em>. The new album also features guest appearances by more than 20 other players, including multi-instrumentalist and composer Jon Brion, violinist and singer Soozie Tyrell and former E Street Band member David Sancious.\u003c/p>\n\u003cp>The announcement of \u003cem>Western Stars \u003c/em>comes just ahead of its first single, “Hello Sunshine,” which is set to hit streaming services just after midnight ET Thursday night (12 a.m. Friday).\u003c/p>\n\u003cp>\u003cem>Western Stars \u003c/em>follows last year’s \u003cem>Springsteen on Broadway, \u003c/em>the soundtrack to his yearlong concert residency at the Walter Kerr Theater in New York.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Western Stars \u003c/em>full track listing:\u003c/p>\n\u003col>\n\u003cli>Hitch Hikin’\u003c/li>\n\u003cli>The Wayfarer\u003c/li>\n\u003cli>Tucson Train\u003c/li>\n\u003cli>Western Stars\u003c/li>\n\u003cli>Sleepy Joe’s Café\u003c/li>\n\u003cli>Drive Fast (The Stuntman)\u003c/li>\n\u003cli>Chasin’ Wild Horses\u003c/li>\n\u003cli>Sundown\u003c/li>\n\u003cli>Somewhere North of Nashville\u003c/li>\n\u003cli>Stones\u003c/li>\n\u003cli>There Goes My Miracle\u003c/li>\n\u003cli>Hello Sunshine\u003c/li>\n\u003cli>Moonlight Motel\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Prince Estate has announced plans to release another album of previously unreleased tracks recorded between 1981 and 1991. The album, titled \u003cem>Originals\u003c/em>, will be available June 7 exclusively on Tidal’s Hi-Fi subscription tier, with physical copies, downloads and wider streaming services following on June 21. It features 15 demo versions of songs Prince wrote and recorded for other artists, including Sheila E., The Time and Kenny Rogers. Fourteen of the tracks have never been released before.\u003c/p>\n\u003cp>[aside postID='arts_13833817' *hero='08-e1527720308667-1180x664.jpg'* target='_blank']\u003c/p>\n\u003cp>Several of the songs were big hits for the bands at the time. “Manic Monday,” which Prince originally wrote for his protégé girl group Apollonia 6, ultimately appeared on The Bangles’ 1986 album \u003cem>Different Light \u003c/em>and spent several weeks near the top of the pop charts. “The Glamorous Life,” written for Sheila E., was a number-one hit on the dance charts in 1984, while Sinead O’Connor’s version of “Nothing Compares 2 U” spent a month at number one on the Hot 100 in 1990.\u003c/p>\n\u003cp>\u003cem>Originals \u003c/em>follows last year’s \u003cem>Piano and a Microphone 1983, \u003c/em>a collection of intimate home recordings by Prince.\u003c/p>\n\u003cp>This fall, the Prince estate and Random House will also release a new memoir by the artist titled \u003cem>The Beautiful Ones\u003c/em>. It’s due out Oct. 29 and will include snippets of Prince’s handwritten lyrics, original scrapbooks and never-before-seen photos.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Originals\u003c/em> full track listing:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1. “Sex Shooter”\u003cbr>\n2. “Jungle Love”\u003cbr>\n3. “Manic Monday”\u003cbr>\n4. “Noon Rendezvous”\u003cbr>\n5. “Make-Up”\u003cbr>\n6. “100 MPH”\u003cbr>\n7. “You’re My Love”\u003cbr>\n8. “Holly Rock”\u003cbr>\n9. “Baby, You’re a Trip”\u003cbr>\n10. “The Glamorous Life”\u003cbr>\n11. “Gigolos Get Lonely Too”\u003cbr>\n12. “Love… Thy Will Be Done”\u003cbr>\n13. “Dear Michaelangelo”\u003cbr>\n14. “Wouldn’t You Love to Love Me?”\u003cbr>\n15. “Nothing Compares 2 U”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Album+From+Prince%27s+Vault%2C+And+His+Memoir%2C+Are+Coming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several of the songs were big hits for the bands at the time. “Manic Monday,” which Prince originally wrote for his protégé girl group Apollonia 6, ultimately appeared on The Bangles’ 1986 album \u003cem>Different Light \u003c/em>and spent several weeks near the top of the pop charts. “The Glamorous Life,” written for Sheila E., was a number-one hit on the dance charts in 1984, while Sinead O’Connor’s version of “Nothing Compares 2 U” spent a month at number one on the Hot 100 in 1990.\u003c/p>\n\u003cp>\u003cem>Originals \u003c/em>follows last year’s \u003cem>Piano and a Microphone 1983, \u003c/em>a collection of intimate home recordings by Prince.\u003c/p>\n\u003cp>This fall, the Prince estate and Random House will also release a new memoir by the artist titled \u003cem>The Beautiful Ones\u003c/em>. It’s due out Oct. 29 and will include snippets of Prince’s handwritten lyrics, original scrapbooks and never-before-seen photos.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Originals\u003c/em> full track listing:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Arts Funder Under Fire for Evicting Family Next to David Ireland House",
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"content": "\u003cp>In 1975, David Ireland bought an 1886 Italianate-style home in the Mission District of San Francisco and proceeded to incorporate its existing contents and surroundings into works of art.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He coated the walls in tinted polyurethane, enjoying how it reflected the colors of passing cars, and installed the previous owner’s belongings as sculptures. \u003c/span>He even enlisted a tenant at the time of his purchase in a 1979 “action” by throwing the 95-year-old a birthday party.\u003c/p>\n\u003cp>Now, however, the owner of the late conceptual artist’s home, prominent local arts funder and collector Carlie Wilmans, appears to be a different kind of landlord. She’s evicting the neighbors—a multigenerational family of six, including an 80-year-old Chinese immigrant with disabilities who’s lived at the property since 1995.\u003c/p>\n\u003cp>Wilmans bought 500 Capp Street to preserve Ireland’s work, forming a nonprofit foundation and opening it to the public in 2016. She also acquired the duplex next door, quickly moving to evict its tenants. As the \u003cem>San Francisco Examiner\u003c/em> \u003ca href=\"https://www.sfexaminer.com/home/mission-district-landlord-is-evicting-tenants-to-house-artists-for-david-ireland-foundation/\">first reported\u003c/a>, Wilmans plans to “donate” use of the duplex to her 500 Capp Street Foundation.\u003c/p>\n\u003cp>Wilmans and her attorney, Scott Freedman, frame the evictions as part of an altruistic project to provide artists free temporary lodging. But critics call it a brazen case of “artwashing,” whereby galleries tout cultural benefits to mask the pernicious effects of gentrification.\u003c/p>\n\u003cfigure id=\"attachment_13855722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-800x450.jpg\" alt=\"Carlie Wilmans acquired the duplex next to the David Ireland House in 2016, quickly moving to evict its tenants.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlie Wilmans acquired the duplex next to the David Ireland House in 2016, quickly moving to evict its tenants. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilmans is a board member at 500 Capp Street Foundation, the San Francisco Museum of Modern Art and California College of the Arts, as well as the Wattis Foundation, an arts grant-making organization named for her grandmother, the late philanthropist Phyllis Wattis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jennifer Fieber of the San Francisco Tenants Union, which has offices on the same block of Capp St., shared a \u003ca href=\"https://www.facebook.com/SFTenantsUnion/photos/p.2472583769453764/2472583769453764/?type=3&theater\">letter\u003c/a> Saturday urging Wilmans to rescind the eviction. “It is not a good look for an art organization to be destroying the lives of hardworking and vulnerable families and seniors,” Fieber wrote. “Please do not excuse this action by saying it is to help artists.”\u003c/p>\n\u003cp>In an interview, Fieber said the situation shows art patrons’ disconnection from working people. Noting Wilmans’ role at SFMOMA, she said the same insensitivity underlined the museum’s resistance to giving its staff cost-of-living raises during \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">contract talks\u003c/a> last year. In Fieber’s view, the arts’ leadership and benefactor class too often harms the community it claims to support.\u003c/p>\n\u003cp>“If they know the story, I don’t think traveling artists are going to want to stay there,” she added.\u003c/p>\n\u003cp>“This foundation, run by one of the richer people in the Bay Area art scene, is showing a total disregard for the neighborhood that supported and inspired David Ireland,” said Spike Kahn, a photographer who helped develop the Pacific Felt Factory arts complex in the Mission District. “For this to be done in the name of the arts means artists have a responsibility to speak out.” [aside postID=arts_13855321,arts_13838611]\u003c/p>\n\u003cp>In an emailed statement, Wilmans stressed that the 500 Capp Street Foundation is not a party to the pending eviction lawsuit.\u003c/p>\n\u003cp>“I personally took efforts to recover possession of my property, and my plan has been to donate use of the space to enhance opportunities for art in the Mission,” she wrote. “My intent has always been to create community around art and to provide some financial stability for a non-profit arts organization in a time when funding of such organizations is diminishing.”\u003c/p>\n\u003cp>Wilmans added that she’s “shocked and disappointed” to see tenant groups “eager to dictate what type of art [is] allowed in the Mission.” Still, she said she’s considering a change of course following the backlash, noting she’s “in talks” with the City of San Francisco’s Small Sites Program, which helps nonprofit housing developers acquire property while retaining tenants at risk of displacement.\u003c/p>\n\u003cp>(Reached by phone, an agency spokesperson said there’s no proposal for Wilmans’ property, and that the program is generally for buildings with 5-25 units.)\u003c/p>\n\u003cp>“Dictating art—I’m not sure what she’s talking about,” said Steven Collier, a Tenderloin Housing Clinic staff attorney representing the tenants. “I don’t have an issue with the art.”\u003c/p>\n\u003cp>Collier continued, “I have an issue with evicting long term, low-income tenants who will essentially have to move out of the city so some artists can live here temporarily instead of a hotel.”\u003c/p>\n\u003cfigure id=\"attachment_13855769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-800x450.jpg\" alt=\"Wilmans' duplex seen from 20th Street on the far right, next to the David Ireland House.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilmans’ duplex seen from 20th Street on the far right, next to the David Ireland House. \u003ccite>(Henrik Kam/Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Property records show Wilmans bought the duplex on 20th Street in 2016 through a limited-liability company for $1.6 million. That year, court filings show she filed a successful eviction lawsuit against the lower unit’s tenants, arguing people were illegally sleeping in the garage. (In 2018, she acquired permits to renovate the bathroom and kitchen.)\u003c/p>\n\u003cp>In 2017, Wilmans invoked the Ellis Act, which allows eviction if a landlord intends to remove a property from the rental market, to oust the family from the upper unit. Because the tenants include a disabled senior, they received a one-year reprieve. Wilmans then initiated the eviction lawsuit last October, seeking to recover the unit and $150 in damages a day until the case resolves.\u003c/p>\n\u003cp>Collier accused Wilmans of retaliating against his clients for complaining about substandard conditions and exercising their right to reject earlier buyout attempts. He’s requested a jury trial.\u003c/p>\n\u003cp>His main argument is that Wilmans’ plan to temporarily house artists is an improper use of the Ellis Act. “She’s indicated they could be there for one or two months, similar to a corporate apartment,” he said. “The Ellis Act isn’t meant to exchange one group of tenants for another… It’s still a tenancy, even without rent charged.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her statement, Wilmans called the eviction a “lawful use of an unpopular state law.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1975, David Ireland bought an 1886 Italianate-style home in the Mission District of San Francisco and proceeded to incorporate its existing contents and surroundings into works of art.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He coated the walls in tinted polyurethane, enjoying how it reflected the colors of passing cars, and installed the previous owner’s belongings as sculptures. \u003c/span>He even enlisted a tenant at the time of his purchase in a 1979 “action” by throwing the 95-year-old a birthday party.\u003c/p>\n\u003cp>Now, however, the owner of the late conceptual artist’s home, prominent local arts funder and collector Carlie Wilmans, appears to be a different kind of landlord. She’s evicting the neighbors—a multigenerational family of six, including an 80-year-old Chinese immigrant with disabilities who’s lived at the property since 1995.\u003c/p>\n\u003cp>Wilmans bought 500 Capp Street to preserve Ireland’s work, forming a nonprofit foundation and opening it to the public in 2016. She also acquired the duplex next door, quickly moving to evict its tenants. As the \u003cem>San Francisco Examiner\u003c/em> \u003ca href=\"https://www.sfexaminer.com/home/mission-district-landlord-is-evicting-tenants-to-house-artists-for-david-ireland-foundation/\">first reported\u003c/a>, Wilmans plans to “donate” use of the duplex to her 500 Capp Street Foundation.\u003c/p>\n\u003cp>Wilmans and her attorney, Scott Freedman, frame the evictions as part of an altruistic project to provide artists free temporary lodging. But critics call it a brazen case of “artwashing,” whereby galleries tout cultural benefits to mask the pernicious effects of gentrification.\u003c/p>\n\u003cfigure id=\"attachment_13855722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-800x450.jpg\" alt=\"Carlie Wilmans acquired the duplex next to the David Ireland House in 2016, quickly moving to evict its tenants.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/500-Capp-Street-Carlie-Wilmans-Eviction.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlie Wilmans acquired the duplex next to the David Ireland House in 2016, quickly moving to evict its tenants. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilmans is a board member at 500 Capp Street Foundation, the San Francisco Museum of Modern Art and California College of the Arts, as well as the Wattis Foundation, an arts grant-making organization named for her grandmother, the late philanthropist Phyllis Wattis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jennifer Fieber of the San Francisco Tenants Union, which has offices on the same block of Capp St., shared a \u003ca href=\"https://www.facebook.com/SFTenantsUnion/photos/p.2472583769453764/2472583769453764/?type=3&theater\">letter\u003c/a> Saturday urging Wilmans to rescind the eviction. “It is not a good look for an art organization to be destroying the lives of hardworking and vulnerable families and seniors,” Fieber wrote. “Please do not excuse this action by saying it is to help artists.”\u003c/p>\n\u003cp>In an interview, Fieber said the situation shows art patrons’ disconnection from working people. Noting Wilmans’ role at SFMOMA, she said the same insensitivity underlined the museum’s resistance to giving its staff cost-of-living raises during \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">contract talks\u003c/a> last year. In Fieber’s view, the arts’ leadership and benefactor class too often harms the community it claims to support.\u003c/p>\n\u003cp>“If they know the story, I don’t think traveling artists are going to want to stay there,” she added.\u003c/p>\n\u003cp>“This foundation, run by one of the richer people in the Bay Area art scene, is showing a total disregard for the neighborhood that supported and inspired David Ireland,” said Spike Kahn, a photographer who helped develop the Pacific Felt Factory arts complex in the Mission District. “For this to be done in the name of the arts means artists have a responsibility to speak out.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an emailed statement, Wilmans stressed that the 500 Capp Street Foundation is not a party to the pending eviction lawsuit.\u003c/p>\n\u003cp>“I personally took efforts to recover possession of my property, and my plan has been to donate use of the space to enhance opportunities for art in the Mission,” she wrote. “My intent has always been to create community around art and to provide some financial stability for a non-profit arts organization in a time when funding of such organizations is diminishing.”\u003c/p>\n\u003cp>Wilmans added that she’s “shocked and disappointed” to see tenant groups “eager to dictate what type of art [is] allowed in the Mission.” Still, she said she’s considering a change of course following the backlash, noting she’s “in talks” with the City of San Francisco’s Small Sites Program, which helps nonprofit housing developers acquire property while retaining tenants at risk of displacement.\u003c/p>\n\u003cp>(Reached by phone, an agency spokesperson said there’s no proposal for Wilmans’ property, and that the program is generally for buildings with 5-25 units.)\u003c/p>\n\u003cp>“Dictating art—I’m not sure what she’s talking about,” said Steven Collier, a Tenderloin Housing Clinic staff attorney representing the tenants. “I don’t have an issue with the art.”\u003c/p>\n\u003cp>Collier continued, “I have an issue with evicting long term, low-income tenants who will essentially have to move out of the city so some artists can live here temporarily instead of a hotel.”\u003c/p>\n\u003cfigure id=\"attachment_13855769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-800x450.jpg\" alt=\"Wilmans' duplex seen from 20th Street on the far right, next to the David Ireland House.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_DIH_Exterior_HenrikKam_2015.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilmans’ duplex seen from 20th Street on the far right, next to the David Ireland House. \u003ccite>(Henrik Kam/Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Property records show Wilmans bought the duplex on 20th Street in 2016 through a limited-liability company for $1.6 million. That year, court filings show she filed a successful eviction lawsuit against the lower unit’s tenants, arguing people were illegally sleeping in the garage. (In 2018, she acquired permits to renovate the bathroom and kitchen.)\u003c/p>\n\u003cp>In 2017, Wilmans invoked the Ellis Act, which allows eviction if a landlord intends to remove a property from the rental market, to oust the family from the upper unit. Because the tenants include a disabled senior, they received a one-year reprieve. Wilmans then initiated the eviction lawsuit last October, seeking to recover the unit and $150 in damages a day until the case resolves.\u003c/p>\n\u003cp>Collier accused Wilmans of retaliating against his clients for complaining about substandard conditions and exercising their right to reject earlier buyout attempts. He’s requested a jury trial.\u003c/p>\n\u003cp>His main argument is that Wilmans’ plan to temporarily house artists is an improper use of the Ellis Act. “She’s indicated they could be there for one or two months, similar to a corporate apartment,” he said. “The Ellis Act isn’t meant to exchange one group of tenants for another… It’s still a tenancy, even without rent charged.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her statement, Wilmans called the eviction a “lawful use of an unpopular state law.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After weeks of hand-wringing, vote-wrangling and even some stern finger-wagging from the Department of Justice, the Academy of Motion Picture Arts and Sciences has declined to pursue a controversial proposal to change the Oscars’ eligibility rules.\u003c/p>\n\u003cp>That proposal, \u003ca href=\"https://variety.com/2019/film/news/steven-spielberg-academy-netflix-oscar-competition-1203153872/\">reportedly pushed by\u003c/a> megadirector Steven Spielberg, would have made it difficult for streaming services such as Netflix to compete for the academy’s big prizes by restricting eligibility to just films that got a significant run in theaters. Films that debuted online and only got a limited theatrical release simply would be out of luck.\u003c/p>\n\u003cp>But when the academy’s \u003ca href=\"https://www.oscars.org/about/board-of-governors\">board of governors\u003c/a> released its rules for next year’s prize — a book that runs to 35 pages, all told — the would-be changes were not among them.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5977147-92aa-Rules.html” responsive=true]\u003c/p>\n\u003cp>“We support the theatrical experience as integral to the art of motion pictures, and this weighed heavily in our discussions,” John Bailey, president of the academy, said in a statement \u003ca href=\"https://www.oscars.org/news/academy-announces-rules-92nd-oscars\">released Tuesday night\u003c/a>. “Our rules currently require theatrical exhibition, and also allow for a broad selection of films to be submitted for Oscars consideration.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After weeks of hand-wringing, vote-wrangling and even some stern finger-wagging from the Department of Justice, the Academy of Motion Picture Arts and Sciences has declined to pursue a controversial proposal to change the Oscars’ eligibility rules.\u003c/p>\n\u003cp>That proposal, \u003ca href=\"https://variety.com/2019/film/news/steven-spielberg-academy-netflix-oscar-competition-1203153872/\">reportedly pushed by\u003c/a> megadirector Steven Spielberg, would have made it difficult for streaming services such as Netflix to compete for the academy’s big prizes by restricting eligibility to just films that got a significant run in theaters. Films that debuted online and only got a limited theatrical release simply would be out of luck.\u003c/p>\n\u003cp>But when the academy’s \u003ca href=\"https://www.oscars.org/about/board-of-governors\">board of governors\u003c/a> released its rules for next year’s prize — a book that runs to 35 pages, all told — the would-be changes were not among them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Staff at California College of the Arts staff voted Monday to elect Service Employees International Union’s representation in collective bargaining, joining the art school’s adjunct faculty as members of Local 1021. \u003c/p>\n\u003cp>“YES to end chronic understaffing and high staff turnover,” read an Instagram post from \u003ca href=\"https://www.instagram.com/sfoakunite/\">@sfoakunite\u003c/a>, an account run by the staff’s organizing committee. “YES to supporting students!” [aside postID='arts_13855321' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CCA-union-3.jpg']\u003c/p>\n\u003cp>After months organizing, staff voted 80 in favor and 15 against the union, with 28 contested ballots cast by employees whose eligibility for representation the administration challenged. (Contested ballots are only counted to break ties.) According to the organizing committee, 164 staffers are eligible for representation. \u003c/p>\n\u003cp>“CCA will be better when the faces that represent it are valued and embraced,” said Brian Woods, a six-year employee and member of the organizing committee. “All of the long-term workers are why I work at CCA, and they deserve security in their jobs and a fair shake in the midst of these massive changes.” \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">reported Thursday\u003c/a>, California College of the Arts’ plan to consolidate campuses in San Francisco largely motivated the union effort, with staff worried about its effect on job security. Organizers believe unionizing will provide leverage with school administration as the workplace transforms. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Echoing broader concerns in the arts and higher-education sectors, staff believe representation will help win raises as cost-of-living, namely housing and commuting costs, outpaces wage growth in the Bay Area. Organizers also stressed that unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>“We are grateful that a large percentage of the voters exercised their democratic rights, which is the outcome that was of primary importance to the college,” CCA said in a statement. “We look forward to continuing to work closely with staff to make CCA an excellent learning environment for our students and the community.”\u003c/p>\n\u003cp>The administration has claimed neutrality towards the staff unionizing, but distributed a document casting doubts on its benefits. Organizers said leadership sowed confusion about union eligibility in an attempt to undermine the effort. \u003c/p>\n\u003cp>After nearly three years organizing, SEIU helped adjunct faculty ratify their first union contract in 2017. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Founded in Berkeley in 1907, California College of the Arts enrolls some 2,000 undergraduate and graduate students of art, architecture and design and operates the Wattis Institute for Contemporary Arts. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After months organizing, staff voted 80 in favor and 15 against the union, with 28 contested ballots cast by employees whose eligibility for representation the administration challenged. (Contested ballots are only counted to break ties.) According to the organizing committee, 164 staffers are eligible for representation. \u003c/p>\n\u003cp>“CCA will be better when the faces that represent it are valued and embraced,” said Brian Woods, a six-year employee and member of the organizing committee. “All of the long-term workers are why I work at CCA, and they deserve security in their jobs and a fair shake in the midst of these massive changes.” \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">reported Thursday\u003c/a>, California College of the Arts’ plan to consolidate campuses in San Francisco largely motivated the union effort, with staff worried about its effect on job security. Organizers believe unionizing will provide leverage with school administration as the workplace transforms. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Echoing broader concerns in the arts and higher-education sectors, staff believe representation will help win raises as cost-of-living, namely housing and commuting costs, outpaces wage growth in the Bay Area. Organizers also stressed that unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>“We are grateful that a large percentage of the voters exercised their democratic rights, which is the outcome that was of primary importance to the college,” CCA said in a statement. “We look forward to continuing to work closely with staff to make CCA an excellent learning environment for our students and the community.”\u003c/p>\n\u003cp>The administration has claimed neutrality towards the staff unionizing, but distributed a document casting doubts on its benefits. Organizers said leadership sowed confusion about union eligibility in an attempt to undermine the effort. \u003c/p>\n\u003cp>After nearly three years organizing, SEIU helped adjunct faculty ratify their first union contract in 2017. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Founded in Berkeley in 1907, California College of the Arts enrolls some 2,000 undergraduate and graduate students of art, architecture and design and operates the Wattis Institute for Contemporary Arts. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How It 'Fell Apart': Moby Talks New Memoir, Addiction and Trauma",
"headTitle": "How It ‘Fell Apart’: Moby Talks New Memoir, Addiction and Trauma | KQED",
"content": "\u003cfigure id=\"attachment_13855612\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855612\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-800x1224.jpg\" alt=\"Moby, 'Then It Fell Apart.'\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-785x1200.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover.jpg 1339w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moby, ‘Then It Fell Apart.’ \u003ccite>(Faber & Faber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 2000s, a shy, nerdy, underground producer named Moby joined the ranks of the mega-rich and mega-famous: gold- and platinum-certified records lined his hallways, he spent his days hanging out with movie stars and models and lived across the way from his childhood hero, David Bowie. One of the decade’s most popular rappers, Eminem, even had beef with him—meaning he’d finally made it into the pop culture pantheon.\u003c/p>\n\u003cp>But as Moby reveals in his new memoir, he felt perpetually out-of-place and lonely, and was suffering regular panic attacks. In the music video for his 2002 hit “We Are All Made of Stars,” Moby sings, expressionless and wearing a space suit, while \u003cem>TRL-\u003c/em>era celebrities party around him—a not-so-subtle metaphor for his mental state at the time.\u003c/p>\n\u003cp>Moby’s way of coping? Near-constant binge-drinking, party drugs and risky sex, which eventually became unsustainable and destructive. He’s been sober for 11 years now, and looks back on the highs and lows of his substance abuse in \u003ca href=\"http://moby.com/book/\" target=\"_blank\" rel=\"noopener\">\u003ci>Then It Fell Apart\u003c/i>\u003c/a> (on shelves May 2), which picks up where his 2016 book about the 1990s rave scene, \u003cem>Porcelain\u003c/em>, left off.\u003c/p>\n\u003cp>“The elevator pitch for the book would be fixing childhood trauma with clueless adult decisions, or \u003cem>trying\u003c/em> to fix childhood trauma with egregiously bad and clueless adult decisions,” Moby says in a recent phone interview ahead of his appearance at the \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Book Festival\u003c/a> on May 4, where he’ll be \u003ca href=\"https://www.baybookfest.org/session/then-it-fell-apart-an-interview-with-moby/\" target=\"_blank\" rel=\"noopener\">in conversation\u003c/a> with \u003cem>San Francisco Chronicle\u003c/em> critic Peter Hartlaub. “Not surprisingly, it doesn’t work.”\u003c/p>\n\u003cp>https://youtu.be/x1rFAaAKpVc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moby acknowledges that writing about addiction in a non-cliché way is a tricky proposition: people know, on an intellectual level, that drugs, money and sex don’t bring long-term happiness. But as difficulties befall us throughout our lives, we look for short-term relief that steers us away from the hard work of healing our traumas.\u003c/p>\n\u003cp>Rather than taking a didactic approach, Moby conveys these hard-won life lessons by laying bare his painful childhood memories (including his father’s suicide, his shame at growing up poor and the sexual abuse he experienced at a daycare in San Francisco). Flashing forward into his adulthood, he delves into his trauma-related mental-health symptoms and the ways he attempted to alleviate his pain with the trappings of celebrity.\u003c/p>\n\u003cfigure id=\"attachment_13855614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-800x800.jpg\" alt=\"Now 11 years sober, Moby looks back on the ways his childhood traumas contributed to substance abuse at the peak of his fame.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now 11 years sober, Moby looks back on the ways his childhood traumas contributed to substance abuse at the peak of his fame. \u003ccite>(Jonathan Nesvadba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My belief, before I got sober, was that fame was going to fix my feelings of inadequacy; that degeneracy was going to fix my depression; and promiscuity was going fix my childhood trauma,” says Moby. “I longed for things to work in that way. I wanted to be fixed by these unhealthy external things. Part of sobriety—and a degree of spiritual fitness—is that we can’t, in adulthood, hold on to crazy, magical thinking.”\u003c/p>\n\u003cp>In fast-paced, conversational vignettes that weave between his childhood and music-industry heyday, Moby navigates these nuanced themes with great care. He divulges juicy stories involving the biggest celebrities of the 2000s, but even during the glamorous parties and ecstasy-fueled sex, the shadows of Moby’s childhood traumas lurk near. Without glorifying or self-flagellating, Moby offers a candid look at his triumphs and mistakes. The memoir reads as heartfelt rather than preachy, and his attitude is one of compassion and understanding towards himself and, by extension, readers who see themselves in his struggles.\u003c/p>\n\u003cp>There’s plenty of comic relief in \u003cem>Then It Fell Apart\u003c/em>. Like when Moby, new to the Hollywood scene, goes out with Natalie Portman wearing an oversized, gold-lamé Elvis suit because he doesn’t yet own celebrity-worthy attire. Or when he realizes Eminem \u003cem>actually\u003c/em> hates him (the two meet for the first time at the VMAs and the rapper threatens Moby on stage).\u003c/p>\n\u003cp>In addition, the book contains touching triumphs, like when Moby finds himself in disbelief at the surreal experience of performing with his idols, New Order, as well as crushing lows (including suicidal ideation) that happen more and more frequently as Moby’s celebrity starts to fade.\u003c/p>\n\u003cp>https://youtu.be/qc_39aTxsP0\u003c/p>\n\u003cp>Surprisingly, within nearly 400 pages, \u003cem>Then It Fell Apart\u003c/em> doesn’t delve into Moby’s journey of recovery, instead ending on the day the self-described “alcohol enthusiast” admitted he had a problem and decided to seek treatment. He’s saving what came after for his next book, which he says won’t be about recovery per se, but about a larger theme of spirituality.\u003c/p>\n\u003cp>“I’m not a Christian but my life is geared towards God, understanding God, trying to do God’s will,” says Moby. “Keeping in mind, I have no idea who or what God might be.”\u003c/p>\n\u003cp>Since getting clean, Moby has released several albums, enjoyed lucrative music-licensing deals and opened a \u003ca href=\"https://www.littlepinerestaurant.com/\" target=\"_blank\" rel=\"noopener\">nonprofit vegan restaurant\u003c/a> that raises money for animal rights causes. But he no longer cares about being cool, focusing on his spiritual well-being instead—which has been liberating.\u003c/p>\n\u003cp>“It’s really nice to just accept age, accept hair loss, accept diminishing commercial viability,” he says. “Accepting these things and trying to learn from them is a lot more enjoyable and a lot healthier than angrily fighting entropy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Moby appears at the Bay Area Book Festival on May 4. Details \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13855612\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855612\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-800x1224.jpg\" alt=\"Moby, 'Then It Fell Apart.'\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover-785x1200.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ThenItFellApart.Moby_.FinalCover.jpg 1339w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moby, ‘Then It Fell Apart.’ \u003ccite>(Faber & Faber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 2000s, a shy, nerdy, underground producer named Moby joined the ranks of the mega-rich and mega-famous: gold- and platinum-certified records lined his hallways, he spent his days hanging out with movie stars and models and lived across the way from his childhood hero, David Bowie. One of the decade’s most popular rappers, Eminem, even had beef with him—meaning he’d finally made it into the pop culture pantheon.\u003c/p>\n\u003cp>But as Moby reveals in his new memoir, he felt perpetually out-of-place and lonely, and was suffering regular panic attacks. In the music video for his 2002 hit “We Are All Made of Stars,” Moby sings, expressionless and wearing a space suit, while \u003cem>TRL-\u003c/em>era celebrities party around him—a not-so-subtle metaphor for his mental state at the time.\u003c/p>\n\u003cp>Moby’s way of coping? Near-constant binge-drinking, party drugs and risky sex, which eventually became unsustainable and destructive. He’s been sober for 11 years now, and looks back on the highs and lows of his substance abuse in \u003ca href=\"http://moby.com/book/\" target=\"_blank\" rel=\"noopener\">\u003ci>Then It Fell Apart\u003c/i>\u003c/a> (on shelves May 2), which picks up where his 2016 book about the 1990s rave scene, \u003cem>Porcelain\u003c/em>, left off.\u003c/p>\n\u003cp>“The elevator pitch for the book would be fixing childhood trauma with clueless adult decisions, or \u003cem>trying\u003c/em> to fix childhood trauma with egregiously bad and clueless adult decisions,” Moby says in a recent phone interview ahead of his appearance at the \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Book Festival\u003c/a> on May 4, where he’ll be \u003ca href=\"https://www.baybookfest.org/session/then-it-fell-apart-an-interview-with-moby/\" target=\"_blank\" rel=\"noopener\">in conversation\u003c/a> with \u003cem>San Francisco Chronicle\u003c/em> critic Peter Hartlaub. “Not surprisingly, it doesn’t work.”\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/x1rFAaAKpVc'\n title='//www.youtube.com/embed/x1rFAaAKpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moby acknowledges that writing about addiction in a non-cliché way is a tricky proposition: people know, on an intellectual level, that drugs, money and sex don’t bring long-term happiness. But as difficulties befall us throughout our lives, we look for short-term relief that steers us away from the hard work of healing our traumas.\u003c/p>\n\u003cp>Rather than taking a didactic approach, Moby conveys these hard-won life lessons by laying bare his painful childhood memories (including his father’s suicide, his shame at growing up poor and the sexual abuse he experienced at a daycare in San Francisco). Flashing forward into his adulthood, he delves into his trauma-related mental-health symptoms and the ways he attempted to alleviate his pain with the trappings of celebrity.\u003c/p>\n\u003cfigure id=\"attachment_13855614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-800x800.jpg\" alt=\"Now 11 years sober, Moby looks back on the ways his childhood traumas contributed to substance abuse at the peak of his fame.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Moby.THENITFELLAPART.AuthorPhoto2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now 11 years sober, Moby looks back on the ways his childhood traumas contributed to substance abuse at the peak of his fame. \u003ccite>(Jonathan Nesvadba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My belief, before I got sober, was that fame was going to fix my feelings of inadequacy; that degeneracy was going to fix my depression; and promiscuity was going fix my childhood trauma,” says Moby. “I longed for things to work in that way. I wanted to be fixed by these unhealthy external things. Part of sobriety—and a degree of spiritual fitness—is that we can’t, in adulthood, hold on to crazy, magical thinking.”\u003c/p>\n\u003cp>In fast-paced, conversational vignettes that weave between his childhood and music-industry heyday, Moby navigates these nuanced themes with great care. He divulges juicy stories involving the biggest celebrities of the 2000s, but even during the glamorous parties and ecstasy-fueled sex, the shadows of Moby’s childhood traumas lurk near. Without glorifying or self-flagellating, Moby offers a candid look at his triumphs and mistakes. The memoir reads as heartfelt rather than preachy, and his attitude is one of compassion and understanding towards himself and, by extension, readers who see themselves in his struggles.\u003c/p>\n\u003cp>There’s plenty of comic relief in \u003cem>Then It Fell Apart\u003c/em>. Like when Moby, new to the Hollywood scene, goes out with Natalie Portman wearing an oversized, gold-lamé Elvis suit because he doesn’t yet own celebrity-worthy attire. Or when he realizes Eminem \u003cem>actually\u003c/em> hates him (the two meet for the first time at the VMAs and the rapper threatens Moby on stage).\u003c/p>\n\u003cp>In addition, the book contains touching triumphs, like when Moby finds himself in disbelief at the surreal experience of performing with his idols, New Order, as well as crushing lows (including suicidal ideation) that happen more and more frequently as Moby’s celebrity starts to fade.\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/qc_39aTxsP0'\n title='//www.youtube.com/embed/qc_39aTxsP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Surprisingly, within nearly 400 pages, \u003cem>Then It Fell Apart\u003c/em> doesn’t delve into Moby’s journey of recovery, instead ending on the day the self-described “alcohol enthusiast” admitted he had a problem and decided to seek treatment. He’s saving what came after for his next book, which he says won’t be about recovery per se, but about a larger theme of spirituality.\u003c/p>\n\u003cp>“I’m not a Christian but my life is geared towards God, understanding God, trying to do God’s will,” says Moby. “Keeping in mind, I have no idea who or what God might be.”\u003c/p>\n\u003cp>Since getting clean, Moby has released several albums, enjoyed lucrative music-licensing deals and opened a \u003ca href=\"https://www.littlepinerestaurant.com/\" target=\"_blank\" rel=\"noopener\">nonprofit vegan restaurant\u003c/a> that raises money for animal rights causes. But he no longer cares about being cool, focusing on his spiritual well-being instead—which has been liberating.\u003c/p>\n\u003cp>“It’s really nice to just accept age, accept hair loss, accept diminishing commercial viability,” he says. “Accepting these things and trying to learn from them is a lot more enjoyable and a lot healthier than angrily fighting entropy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Moby appears at the Bay Area Book Festival on May 4. Details \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Young San Jose Poets Urge Us All to Pick Up That Trash, Pretty Please",
"headTitle": "Young San Jose Poets Urge Us All to Pick Up That Trash, Pretty Please | KQED",
"content": "\u003cp>The idea is so obvious and clever, you wonder why this kind of thing isn’t everywhere: children’s poems about our troubled planet, urging us to keep it clean. Or clean\u003cstrong>\u003cem>er\u003c/em>\u003c/strong>, anyways. Starting with litter.\u003c/p>\n\u003cp>Kerry Adams Hapner, Cultural Affairs Director for San Jose, explained that \u003ca href=\"http://www.sanjoseca.gov/index.aspx?NID=6310\" target=\"_blank\" rel=\"noopener\">\u003cem>Litter-ature\u003c/em>\u003c/a>\u003cem>, \u003c/em>as the program is called, cultivated then featured 10 winning poems on 500 trash cans in 17 different business improvement districts around the city,\u003c/p>\n\u003cp>“We have a call to action. It’s our youth that recognizes we have to change. Otherwise, we’re going to lose different parts of this beautiful earth.”\u003c/p>\n\u003cfigure id=\"attachment_13855477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg\" alt='\"Please\" and \"This\" by Ishani Cheshire, 12th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Please” and “This” by Ishani Cheshire, 12th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of middle and high school students sent in more than 300 short poems. Then, a panel of judges led by Santa Clara County’s Poet Laureate \u003ca href=\"https://poetlaureateblog.org/author/mightymikemcgee/\" target=\"_blank\" rel=\"noopener\">Mike McGee\u003c/a> sorted through all of it: thoughtful, anguished, half-hearted, even funny.\u003c/p>\n\u003cp>“We sweated over the fact we could only pick 10. It was really hard,” he said, adding, “Kids are thinking about their environment, because they’re seeing adults not doing anything about it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12808325,arts_13077335,arts_13661123' label='Related Coverage']Ouch, but fair point.\u003c/p>\n\u003cp>San Jose artist \u003ca href=\"https://www.coroflot.com/artorigin\" target=\"_blank\" rel=\"noopener\">Carlos Pérez,\u003c/a> who made his name designing the first logo for Apple back in 1977, helped to make the poems pop visually with dreamy, ecologically evocative graphics, printed on aluminum sides that wrap the trash cans.\u003c/p>\n\u003cp>“I felt the spirit of each one and created an image behind it. We wanted to keep the images supportive but quiet, so that the poetry would come through,” Pérez said.\u003c/p>\n\u003cp>“If you look really closely at the art, there’s a lot happening in it,” said McGee. “He has a great way of taking the words he’s given and then applying colors to them.”\u003c/p>\n\u003cfigure id=\"attachment_13855478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg\" alt='\"Summer is hotter\" by Ethan Xie, 11th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Summer is hotter” by Ethan Xie, 11th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Winning poets got gift certificates to the bookseller Barnes and Noble, recognition from the city, of course, and glossy booklets of their poems designed by Pérez.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Litter-ature\u003c/em> is an eminently \u003ca href=\"https://www.instagram.com/explore/tags/litteraturesj/\" target=\"_blank\" rel=\"noopener\">Instagramable\u003c/a> spin on the one-day litter cleanups you usually see on Earth Day. With these cans, there’s no excuse! Pick up that trash, people, and put it where it belongs! Whether you snap a selfie while doing it is up to you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The idea is so obvious and clever, you wonder why this kind of thing isn’t everywhere: children’s poems about our troubled planet, urging us to keep it clean. Or clean\u003cstrong>\u003cem>er\u003c/em>\u003c/strong>, anyways. Starting with litter.\u003c/p>\n\u003cp>Kerry Adams Hapner, Cultural Affairs Director for San Jose, explained that \u003ca href=\"http://www.sanjoseca.gov/index.aspx?NID=6310\" target=\"_blank\" rel=\"noopener\">\u003cem>Litter-ature\u003c/em>\u003c/a>\u003cem>, \u003c/em>as the program is called, cultivated then featured 10 winning poems on 500 trash cans in 17 different business improvement districts around the city,\u003c/p>\n\u003cp>“We have a call to action. It’s our youth that recognizes we have to change. Otherwise, we’re going to lose different parts of this beautiful earth.”\u003c/p>\n\u003cfigure id=\"attachment_13855477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg\" alt='\"Please\" and \"This\" by Ishani Cheshire, 12th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Please” and “This” by Ishani Cheshire, 12th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of middle and high school students sent in more than 300 short poems. Then, a panel of judges led by Santa Clara County’s Poet Laureate \u003ca href=\"https://poetlaureateblog.org/author/mightymikemcgee/\" target=\"_blank\" rel=\"noopener\">Mike McGee\u003c/a> sorted through all of it: thoughtful, anguished, half-hearted, even funny.\u003c/p>\n\u003cp>“We sweated over the fact we could only pick 10. It was really hard,” he said, adding, “Kids are thinking about their environment, because they’re seeing adults not doing anything about it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ouch, but fair point.\u003c/p>\n\u003cp>San Jose artist \u003ca href=\"https://www.coroflot.com/artorigin\" target=\"_blank\" rel=\"noopener\">Carlos Pérez,\u003c/a> who made his name designing the first logo for Apple back in 1977, helped to make the poems pop visually with dreamy, ecologically evocative graphics, printed on aluminum sides that wrap the trash cans.\u003c/p>\n\u003cp>“I felt the spirit of each one and created an image behind it. We wanted to keep the images supportive but quiet, so that the poetry would come through,” Pérez said.\u003c/p>\n\u003cp>“If you look really closely at the art, there’s a lot happening in it,” said McGee. “He has a great way of taking the words he’s given and then applying colors to them.”\u003c/p>\n\u003cfigure id=\"attachment_13855478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg\" alt='\"Summer is hotter\" by Ethan Xie, 11th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Summer is hotter” by Ethan Xie, 11th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Winning poets got gift certificates to the bookseller Barnes and Noble, recognition from the city, of course, and glossy booklets of their poems designed by Pérez.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Litter-ature\u003c/em> is an eminently \u003ca href=\"https://www.instagram.com/explore/tags/litteraturesj/\" target=\"_blank\" rel=\"noopener\">Instagramable\u003c/a> spin on the one-day litter cleanups you usually see on Earth Day. With these cans, there’s no excuse! Pick up that trash, people, and put it where it belongs! Whether you snap a selfie while doing it is up to you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>California College of the Arts staff will vote Monday in a union election, continuing a labor organizing trend in the arts and higher education sectors as the cost of living outpaces wage growth in the Bay Area. \u003c/p>\n\u003cp>At \u003ca href=\"https://www.cca.edu/\">CCA\u003c/a>, where faculty ratified their first union contract in 2017, staff including workers in the libraries and facilities divisions have been openly organizing with Service Employees International Union (SEIU) Local 1021 since November. A total of 164 staffers are eligible for representation, according to the union organizers. \u003c/p>\n\u003cp>The storied private college, founded in the East Bay in 1907 and boasting alumni such as Robert Arneson and Susan O’Malley, enrolls some 2,000 students of art, architecture and design. It also operates the Wattis Institute for Contemporary Arts. Currently, it spans two campuses in Oakland and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13855305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg\" alt=\"Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the entire school will eventually be consolidated in San Francisco, where its campus at the foot of Potrero Hill is being rebuilt. Organizing committee members told KQED that anxieties about the consolidation, now far behind the initially projected 2021 completion date, are a driving force behind staff’s unionizing effort. \u003c/p>\n\u003cp>With one campus, staff members wonder, will the school need half the janitors? Half the library staff? With staff feeling CCA administration hasn’t satisfactorily answered such questions, organizers believe unionizing will provide job security, higher wages and leverage with school leadership as the workplace dramatically transforms. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the campus is being “unified,” to use the administration’s term for consolidating in San Francisco, organizers believe they’re doing the same for the staff. They’re also stressing how, at a time of focus on recruiting and retaining students, unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>Paul Navarette, who’s worked in the library for five years, added that they’re concerned about the effect of consolidation on student services. “If half the library is in storage, that’s a decrease in services,” he said. \u003c/p>\n\u003cp>In a region that consistently ranks among the country’s most expensive, wages are a key issue. Since CCA workers mostly live in the East Bay, campus consolidation will increase commuting time and cost. “I’ve lived in [the East Bay] for 13 years and my rent has tripled, but my salary hasn’t,” said Amber Bales, a CCA library technician for seven years. Bales noted CCA is her first non-union job in higher education. \u003c/p>\n\u003cfigure id=\"attachment_13855307\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg\" alt=\"California College of the Arts is overhauling its San Francisco campus.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13855307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts is overhauling its San Francisco campus. Above is a rendering of the proposed campus. \u003ccite>(Courtesy Studio Gang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The administration claims neutrality towards union representation, but organizers said school leadership has sown confusion about eligibility to undermine the effort. They also said the administration has attempted to exclude SEIU representatives, but include school attorneys, from meetings with organizers. \u003c/p>\n\u003cp>Earlier this month, organizers sent a \u003ca href=\"https://www.instagram.com/p/BwBStFshtAj/\">letter\u003c/a> to college president Stephen Beal asking the administration to “respect every employee’s right to make the decision to form a union, free from coercion or threats.” \u003c/p>\n\u003cp>Asked for comment, CCA spokespeople pointed to a document distributed by the administration Friday. \u003c/p>\n\u003cp>“The CCA administration is not advocating for or against union representation for staff,” it reads. “The administration encourages all staff members to educate themselves on this important issue, as well as to understand what benefits the College currently provides, and to vote their conscience on April 22.” \u003c/p>\n\u003cp>Other parts of the document, however, cast unionizing as a loss: Managers would no longer advocate for raises without union consent, and staff would “most likely not be permitted” to join an advisory committee to human resources. Collective bargaining, it claims, would “generally operate” as CCA does presently. \u003c/p>\n\u003cfigure id=\"attachment_13855301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg\" alt=\"Amber Bales noted California College of the Arts is her first non-union job in higher education.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Bales noted California College of the Arts is her first non-union job in higher education. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers called these assertions disingenuous, adding they’re confident in the election’s positive outcome. \u003c/p>\n\u003cp>Staff were inspired to unionize in part by the contract SEIU Local 1021 helped adjuncts secure in 2017, after nearly three years of organizing. The “Job Security for the 78 Percent” campaign called attention to the untenured proportion of CCA teachers. Now some 500 adjuncts are eligible for union membership. \u003c/p>\n\u003cp>The contract provides adjuncts with a 17 percent raise over three years, one- and two-year teaching appointments and eligibility for health benefits after three years of teaching three or more courses. \u003c/p>\n\u003cp>Local 1021 has 54,000 members, including faculty at San Francisco Art Institute, Dominican University of California, Holy Names University, St. Mary’s College and Mills College. Staff at SFAI and San Francisco Museum of Modern Art, which \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">fought\u003c/a> for cost-of-living raises during contract negotiations last year, are represented by the Office and Professional Employees International Union (OPEIU).\u003c/p>\n\u003cfigure id=\"attachment_13855306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg\" alt=\"Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation's effect on student services.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation’s effect on student services. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SEIU, known for representing government employees, has been organizing higher-education workers nationally as part of its “Faculty Forward” campaign. The union argues government disinvestment in higher education has “turned college into big business,” resulting in insecurity and wage stagnation. \u003c/p>\n\u003cp>Matt Kennedy, a print services manager and seven-year CCA employee, said cultural institutions’ messaging around equity and inclusion is also stoking workers’ labor consciousness. “Especially in higher education, where there’s so much values rhetoric, people are motivated by seeing hypocrisy,” he said.\u003c/p>\n\u003cp>The organizing committee’s \u003ca href=\"https://www.instagram.com/sfoakunite/\">Instagram account\u003c/a> has posted messages supporting recent labor struggles at Santa Clara University and the New Museum. The committee has also held informational events in partnership with CCA groups such as the Students of Color Coalition, while SEIU representatives this week distributed literature on the Oakland and San Francisco campuses. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the center of CCA’s plan to overhaul its San Francisco campus is more housing for students, plus new and renovated academic buildings designed by architecture firm Studio Gang. CCA has partnered with Emerald Fund and Equity Community Builders to redevelop its 4-acre Oakland property as a mix of mostly market-rate housing plus office and workspace aimed at artists and arts-related nonprofits. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California College of the Arts staff will vote Monday in a union election, continuing a labor organizing trend in the arts and higher education sectors as the cost of living outpaces wage growth in the Bay Area. \u003c/p>\n\u003cp>At \u003ca href=\"https://www.cca.edu/\">CCA\u003c/a>, where faculty ratified their first union contract in 2017, staff including workers in the libraries and facilities divisions have been openly organizing with Service Employees International Union (SEIU) Local 1021 since November. A total of 164 staffers are eligible for representation, according to the union organizers. \u003c/p>\n\u003cp>The storied private college, founded in the East Bay in 1907 and boasting alumni such as Robert Arneson and Susan O’Malley, enrolls some 2,000 students of art, architecture and design. It also operates the Wattis Institute for Contemporary Arts. Currently, it spans two campuses in Oakland and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13855305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg\" alt=\"Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the entire school will eventually be consolidated in San Francisco, where its campus at the foot of Potrero Hill is being rebuilt. Organizing committee members told KQED that anxieties about the consolidation, now far behind the initially projected 2021 completion date, are a driving force behind staff’s unionizing effort. \u003c/p>\n\u003cp>With one campus, staff members wonder, will the school need half the janitors? Half the library staff? With staff feeling CCA administration hasn’t satisfactorily answered such questions, organizers believe unionizing will provide job security, higher wages and leverage with school leadership as the workplace dramatically transforms. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the campus is being “unified,” to use the administration’s term for consolidating in San Francisco, organizers believe they’re doing the same for the staff. They’re also stressing how, at a time of focus on recruiting and retaining students, unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>Paul Navarette, who’s worked in the library for five years, added that they’re concerned about the effect of consolidation on student services. “If half the library is in storage, that’s a decrease in services,” he said. \u003c/p>\n\u003cp>In a region that consistently ranks among the country’s most expensive, wages are a key issue. Since CCA workers mostly live in the East Bay, campus consolidation will increase commuting time and cost. “I’ve lived in [the East Bay] for 13 years and my rent has tripled, but my salary hasn’t,” said Amber Bales, a CCA library technician for seven years. Bales noted CCA is her first non-union job in higher education. \u003c/p>\n\u003cfigure id=\"attachment_13855307\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg\" alt=\"California College of the Arts is overhauling its San Francisco campus.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13855307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts is overhauling its San Francisco campus. Above is a rendering of the proposed campus. \u003ccite>(Courtesy Studio Gang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The administration claims neutrality towards union representation, but organizers said school leadership has sown confusion about eligibility to undermine the effort. They also said the administration has attempted to exclude SEIU representatives, but include school attorneys, from meetings with organizers. \u003c/p>\n\u003cp>Earlier this month, organizers sent a \u003ca href=\"https://www.instagram.com/p/BwBStFshtAj/\">letter\u003c/a> to college president Stephen Beal asking the administration to “respect every employee’s right to make the decision to form a union, free from coercion or threats.” \u003c/p>\n\u003cp>Asked for comment, CCA spokespeople pointed to a document distributed by the administration Friday. \u003c/p>\n\u003cp>“The CCA administration is not advocating for or against union representation for staff,” it reads. “The administration encourages all staff members to educate themselves on this important issue, as well as to understand what benefits the College currently provides, and to vote their conscience on April 22.” \u003c/p>\n\u003cp>Other parts of the document, however, cast unionizing as a loss: Managers would no longer advocate for raises without union consent, and staff would “most likely not be permitted” to join an advisory committee to human resources. Collective bargaining, it claims, would “generally operate” as CCA does presently. \u003c/p>\n\u003cfigure id=\"attachment_13855301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg\" alt=\"Amber Bales noted California College of the Arts is her first non-union job in higher education.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Bales noted California College of the Arts is her first non-union job in higher education. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers called these assertions disingenuous, adding they’re confident in the election’s positive outcome. \u003c/p>\n\u003cp>Staff were inspired to unionize in part by the contract SEIU Local 1021 helped adjuncts secure in 2017, after nearly three years of organizing. The “Job Security for the 78 Percent” campaign called attention to the untenured proportion of CCA teachers. Now some 500 adjuncts are eligible for union membership. \u003c/p>\n\u003cp>The contract provides adjuncts with a 17 percent raise over three years, one- and two-year teaching appointments and eligibility for health benefits after three years of teaching three or more courses. \u003c/p>\n\u003cp>Local 1021 has 54,000 members, including faculty at San Francisco Art Institute, Dominican University of California, Holy Names University, St. Mary’s College and Mills College. Staff at SFAI and San Francisco Museum of Modern Art, which \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">fought\u003c/a> for cost-of-living raises during contract negotiations last year, are represented by the Office and Professional Employees International Union (OPEIU).\u003c/p>\n\u003cfigure id=\"attachment_13855306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg\" alt=\"Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation's effect on student services.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation’s effect on student services. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SEIU, known for representing government employees, has been organizing higher-education workers nationally as part of its “Faculty Forward” campaign. The union argues government disinvestment in higher education has “turned college into big business,” resulting in insecurity and wage stagnation. \u003c/p>\n\u003cp>Matt Kennedy, a print services manager and seven-year CCA employee, said cultural institutions’ messaging around equity and inclusion is also stoking workers’ labor consciousness. “Especially in higher education, where there’s so much values rhetoric, people are motivated by seeing hypocrisy,” he said.\u003c/p>\n\u003cp>The organizing committee’s \u003ca href=\"https://www.instagram.com/sfoakunite/\">Instagram account\u003c/a> has posted messages supporting recent labor struggles at Santa Clara University and the New Museum. The committee has also held informational events in partnership with CCA groups such as the Students of Color Coalition, while SEIU representatives this week distributed literature on the Oakland and San Francisco campuses. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the center of CCA’s plan to overhaul its San Francisco campus is more housing for students, plus new and renovated academic buildings designed by architecture firm Studio Gang. CCA has partnered with Emerald Fund and Equity Community Builders to redevelop its 4-acre Oakland property as a mix of mostly market-rate housing plus office and workspace aimed at artists and arts-related nonprofits. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bandcamp’s vinyl service, expected to be publicly available later this year, collects various existing services under their single roof. Artists would crowdfund a record through the site, effectively allowing fans to pre-order a given title. With the fundraising goal met, Bandcamp then manufactures the record through Pirates Press. Artists would then sell the record on their Bandcamp page.\u003c/p>\n\u003cp>No rates for the service were announced. Bandcamp promises artists “complete control” of pricing and retention of ownership, although the company’s share of revenue, or any potential fundraising fees, weren’t detailed in the announcement. The company currently keeps 15 percent of digital sales and 10 percent of physical merchandise sales. \u003c/p>\n\u003cp>Also part of the deal is order fulfillment, but it’s unclear where the merchandise will be stored. (Bandcamp currently relies primarily on artists themselves to ship orders, and Pirates Press doesn’t warehouse stock, Mueller said.) Likewise, the announcement didn’t mention availability for independent record stores or distributors, or physical copies for artists to sell themselves, for example at shows. \u003c/p>\n\u003cp>(KQED provided a list of questions to Bandcamp.) \u003c/p>\n\u003cp>Mueller said Bandcamp has been working with Pirates Press to develop an interface for artists to provide production materials, simplifying a process for which many labels use multiple professionals. “It’s ideal for small bands, even some labels,” he said, estimating the production minimum will be 250 copies.\u003c/p>\n\u003cp>Essentially, Bandcamp is assuming duties traditionally performed by labels and distributors, which Diamond characterized as “costly and risky.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Dealing with fulfillment and returns can be incredibly time-consuming,” wrote Diamond. “The new service eliminates risk, since fans’ orders finance the pressing, rather than the artist or label.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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