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"content": "\u003cp>Bucking \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener\">local trends\u003c/a>, the \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener\">Asian Art Museum\u003c/a> announced today that Abby Chen, former artistic director of the \u003ca href=\"http://www.c-c-c.org/\" target=\"_blank\" rel=\"noopener\">Chinese Culture Center\u003c/a> (CCC), will assume the role of head of the museum’s contemporary art department on Jan. 7, 2019.\u003c/p>\n\u003cp>The appointment, a newly created position, is part of the Asian Art Museum’s ongoing \u003ca href=\"https://www.kqed.org/arts/13809355/asian-art-museum-moves-toward-90-million-transformation\" target=\"_blank\" rel=\"noopener\">$90 million transformation project\u003c/a>, which includes the renovation of existing gallery spaces and the construction of the new Akiko Yamazaki and Jerry Yang Pavilion, which is scheduled for completion in 2020.\u003c/p>\n\u003cp>Chen is no stranger to the Bay Area art scene. During her 12 years at the CCC, she built a reputation of presenting exciting, multidisciplinary projects that reached well beyond the walls of the culture center to encompass \u003ca href=\"https://www.kqed.org/arts/12826650/chinatowns-ross-alley-transformed-with-ripples-of-immigrant-history\" target=\"_blank\" rel=\"noopener\">the entire neighborhood\u003c/a>. Her curatorial practice, she says, is centered in artists and their process—the thinking behind contemporary art, and not just the finished product.\u003c/p>\n\u003cp>[contextly_sidebar id=”DrjW6GuwS6VsiCu8uuaxq0eWiXmLpHAn”]\u003c/p>\n\u003cp>Speaking of her experience shaping the CCC’s art program, and what lessons she hopes to bring to the Asian Art Museum, Chen has no illusions of grandeur. “I feel like there’s really no shortcut to building a solid contemporary art program,” she says. “You need a whole army to do it. I’m not just talking about the team inside an institution, but the whole ecosystem—the neighborhood, the funders. You need to work collaboratively and intersectionally.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The expansion plans for the Asian Art Museum include 8,500 square feet of continuous gallery space and a 7,500-square-foot rooftop art terrace—plenty of room for outdoor sculpture, performance and temporary installations. But Chen is mindful that even as the museum invests heavily in the presentation of contemporary art, its collection spans over 6,000 years.\u003c/p>\n\u003cp>“One part of it will be place-keeping,” she says of the institution’s future. “The museum, in its nature, is an institution that safeguards objects and collections. But with this new expansion, it’s really about place-making. So how do you merge the two? And have them be relevant to each other? I think that’s one of the biggest challenges.”\u003c/p>\n\u003cfigure id=\"attachment_13847162\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1.jpg\" alt=\"Final touches to Beili Liu's 'Sky Bridge' on Chinatown's Portsmouth Square pedestrian bridge, a project curated by Chen for the Chinese Culture Center in 2015.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13847162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Final touches to Beili Liu’s ‘Sky Bridge’ on Chinatown’s Portsmouth Square pedestrian bridge, a project curated by Chen for the Chinese Culture Center in 2015. \u003ccite>(Chinese Culture Center of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen hopes contemporary art can be that bridge. “I think it’s a humongous opportunity with contemporary art—you can start to apply intersectional thinking across borders, across genre and regions. You can reimagine both the past and the future.”\u003c/p>\n\u003cp>With the addition of Chen’s position, contemporary art becomes the largest team in the Asian Art Museum’s curatorial department, and the only one that focuses on pan-Asian and Asian American art. She will lead Assistant Curator of Contemporary Art Dr. Karin Oen and Senior Educator of Contemporary Art Marc Mayer.\u003c/p>\n\u003cp>Chen is well aware “growth” is not the current buzzword in Bay Area curatorial departments. But especially in these times, she says, artists are crucial to helping us understand the world. And cultural workers are necessary to making sure the wider public has access to those ideas and artworks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“These are the times that institutions need to take more risk and hope for the reward,” she says. “Some institutions chose to take the other route—they wanted to shrink their curatorial departments, they felt that other things need to take that place. And it might work, but in terms of my own experience and one of the very important reasons I joined the Asian Art Museum for this endeavor, is for this risk they’re willing to take.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bucking \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener\">local trends\u003c/a>, the \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener\">Asian Art Museum\u003c/a> announced today that Abby Chen, former artistic director of the \u003ca href=\"http://www.c-c-c.org/\" target=\"_blank\" rel=\"noopener\">Chinese Culture Center\u003c/a> (CCC), will assume the role of head of the museum’s contemporary art department on Jan. 7, 2019.\u003c/p>\n\u003cp>The appointment, a newly created position, is part of the Asian Art Museum’s ongoing \u003ca href=\"https://www.kqed.org/arts/13809355/asian-art-museum-moves-toward-90-million-transformation\" target=\"_blank\" rel=\"noopener\">$90 million transformation project\u003c/a>, which includes the renovation of existing gallery spaces and the construction of the new Akiko Yamazaki and Jerry Yang Pavilion, which is scheduled for completion in 2020.\u003c/p>\n\u003cp>Chen is no stranger to the Bay Area art scene. During her 12 years at the CCC, she built a reputation of presenting exciting, multidisciplinary projects that reached well beyond the walls of the culture center to encompass \u003ca href=\"https://www.kqed.org/arts/12826650/chinatowns-ross-alley-transformed-with-ripples-of-immigrant-history\" target=\"_blank\" rel=\"noopener\">the entire neighborhood\u003c/a>. Her curatorial practice, she says, is centered in artists and their process—the thinking behind contemporary art, and not just the finished product.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Speaking of her experience shaping the CCC’s art program, and what lessons she hopes to bring to the Asian Art Museum, Chen has no illusions of grandeur. “I feel like there’s really no shortcut to building a solid contemporary art program,” she says. “You need a whole army to do it. I’m not just talking about the team inside an institution, but the whole ecosystem—the neighborhood, the funders. You need to work collaboratively and intersectionally.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The expansion plans for the Asian Art Museum include 8,500 square feet of continuous gallery space and a 7,500-square-foot rooftop art terrace—plenty of room for outdoor sculpture, performance and temporary installations. But Chen is mindful that even as the museum invests heavily in the presentation of contemporary art, its collection spans over 6,000 years.\u003c/p>\n\u003cp>“One part of it will be place-keeping,” she says of the institution’s future. “The museum, in its nature, is an institution that safeguards objects and collections. But with this new expansion, it’s really about place-making. So how do you merge the two? And have them be relevant to each other? I think that’s one of the biggest challenges.”\u003c/p>\n\u003cfigure id=\"attachment_13847162\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1.jpg\" alt=\"Final touches to Beili Liu's 'Sky Bridge' on Chinatown's Portsmouth Square pedestrian bridge, a project curated by Chen for the Chinese Culture Center in 2015.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13847162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Sky-Bridge-3-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Final touches to Beili Liu’s ‘Sky Bridge’ on Chinatown’s Portsmouth Square pedestrian bridge, a project curated by Chen for the Chinese Culture Center in 2015. \u003ccite>(Chinese Culture Center of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen hopes contemporary art can be that bridge. “I think it’s a humongous opportunity with contemporary art—you can start to apply intersectional thinking across borders, across genre and regions. You can reimagine both the past and the future.”\u003c/p>\n\u003cp>With the addition of Chen’s position, contemporary art becomes the largest team in the Asian Art Museum’s curatorial department, and the only one that focuses on pan-Asian and Asian American art. She will lead Assistant Curator of Contemporary Art Dr. Karin Oen and Senior Educator of Contemporary Art Marc Mayer.\u003c/p>\n\u003cp>Chen is well aware “growth” is not the current buzzword in Bay Area curatorial departments. But especially in these times, she says, artists are crucial to helping us understand the world. And cultural workers are necessary to making sure the wider public has access to those ideas and artworks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“These are the times that institutions need to take more risk and hope for the reward,” she says. “Some institutions chose to take the other route—they wanted to shrink their curatorial departments, they felt that other things need to take that place. And it might work, but in terms of my own experience and one of the very important reasons I joined the Asian Art Museum for this endeavor, is for this risk they’re willing to take.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "your-most-popular-podcast-episodes-of-2018",
"title": "Your Most Popular Podcast Episodes of 2018",
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"content": "\u003cp>From daily news and mystery-solving to interviews and pop culture, our KQED podcasts—made right here in San Francisco—received millions of downloads this year.\u003c/p>\n\u003cp>Want to sample the stories and sounds that captured our audiences’ ears most? Here are our most-listened-to episodes of 2018—just in time to download for your holiday playlists.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Bay Curious\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11641238/how-the-san-francisco-school-lottery-works-and-how-it-doesnt-2\">How the San Francisco School Lottery Works, And How It Doesn’t\u003c/a>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846938\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-1020x574.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>Overwhelming, stressful, baffling: these are just some of the words San Francisco families use to describe the way the city assigns their kids to a public school. How did we get here? Katrina Schwartz delves into SF’s notoriously fiendish student assignment system, known as “the lottery,” and how the heck it all works for the people caught up in it. (FYI, Katrina’s reporting featured here was actually cited as one of the reasons \u003ca href=\"https://www.kqed.org/news/11693522/two-s-f-school-board-commissioners-to-introduce-resolution-ending-lottery-system\">members of the school board want to end the current system\u003c/a>.)\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11641238/how-the-san-francisco-school-lottery-works-and-how-it-doesnt-2\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406?mt=2\">Subscribe to \u003cem>Bay Curious\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Mindshift\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/mindshift/52229/overcoming-childhood-trauma-how-parents-and-schools-work-to-stop-the-cycle\">Overcoming Childhood Trauma: How Parents and Schools Work to Stop the Cycle\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846897\" class=\"wp-caption alignnone\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Mindshift-Top.jpg\" alt=\"\" width=\"1180\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-1020x700.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sabrina Hanes, the subject of Mindshift’s podcast episode, with her daughter Aroara.. \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trauma one experiences as a child can live on in the adult body, even causing early death. So how can a parent try to beat the odds? \u003ca href=\"https://www.kqed.org/author/lklivans\">Laura Klivans\u003c/a>‘ moving story of one mother’s determination to overcome the trauma of her past for her daughter’s future is made all the more poignant by the fact it’s set in Paradise, Butte County—a community \u003ca href=\"https://www.kqed.org/news/11708389/no-time-to-rebuild-a-family-says-goodbye-to-paradise-after-58-years\">devastated by the recent Camp Fire\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/52229/overcoming-childhood-trauma-how-parents-and-schools-work-to-stop-the-cycle\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/mindshift-podcast/id1078765985?mt=2\">Subscribe to \u003cem>Mindshift\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Q’ed Up\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11673963/the-tacky-dishes-that-mean-the-world-to-one-california-couple\">The Tacky Dishes That Mean the World to One California Couple\u003c/a>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736.jpg\" alt=\"\" width=\"1180\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-1020x636.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ariel Plotnick brings us a story about collectors, obsession and the unique diner dishware—known as \u003ca href=\"https://www.kqed.org/news/11673009/tepco-the-defunct-ceramics-factory-that-still-dishes-out-nostalgia\">TEPCO ceramics\u003c/a>—that have preoccupied one Bay Area couple for years. How could a style that’s derided as ugly, or tacky, by so many prove so alluring to them? Ryan Levi’s weekly \u003cem>Q’ed Up\u003c/em> podcast showcases the best of KQED News’ stories, and this one really struck a chord with our audiences.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11673963/the-tacky-dishes-that-mean-the-world-to-one-california-couple\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/qed-up/id1197721799?mt=2\">Subscribe to \u003cem>Q’ed Up\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Political Break\u003c/strong>\u003cstrong>down\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11698369/san-francisco-da-george-gascon-discusses-decision-not-to-seek-re-election-and-reflects-on-his-push-for-criminal-justice-reforms\">Interview: San Francisco DA George Gascón \u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846899\" class=\"wp-caption alignnone\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Gascon-1180x885.jpg\" alt=\"\" width=\"1180\" height=\"885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-520x390.jpg 520w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco District Attorney George Gascón, with KQED Political Breakdown hosts Marisa Lagos and Scott Shafer. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Political Breakdown\u003c/em> hosts Scott Shafer and Marisa Lagos are known for getting the sorts of insights you wouldn’t normally expect from interview-wary politicians. Their pre-Election Day chat with SF District Attorney George Gascón was no exception—running the gamut from his childhood in Cuba to deciding whether to prosecute police officers after shootings.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11698369/san-francisco-da-george-gascon-discusses-decision-not-to-seek-re-election-and-reflects-on-his-push-for-criminal-justice-reforms\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/political-breakdown/id1327641087?mt=2\">Subscribe to \u003cem>Political Breakdown\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>The Bay\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11654685/no-fire-engines-here\">“No Fire Engines Here”\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846927\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211.jpg\" alt=\"\" width=\"1920\" height=\"1211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-1200x757.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-960x606.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-520x328.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A firefighter walks near a pool as a neighboring home burns in the Napa wine region in California on October 9, 2017. \u003ccite>(Josh Edelson/AFP-Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delayed evacuations, communication gaps, the North Bay on fire. This episode of KQED’s “storytelling for daily news” podcast, hosted by Devin Katayama, traces the first eight hours of October 8, as what became known nationally as the 2017 “Wine Country fires” took hold. This episode features reporter Sukey Lewis, who was involved in our newsroom’s \u003ca href=\"https://www.kqed.org/news/11644154/north-bay-fires-what-took-authorities-so-long-to-warn-people\">six-month investigation\u003c/a> of why it took North Bay authorities so long to warn people that night—with deadly consequences.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11654685/no-fire-engines-here\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-bay/id1350043452?mt=2\">Subscribe to \u003cem>The Bay\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>The California Report Magazine\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11641811/the-legend-of-the-lyft-rapper-and-the-curse-of-the-gold-rush-town\">The Legend of the Lyft Rapper and the Curse of the Gold Rush Town\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846941\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/bodie.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ghost town of Bodie, California \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why is one Bay Area Lyft driver trying to change the sometimes-silent, often-awkward rideshare experience with his rap skills? Why are people who visit the Sierra ghost town of Bodie so convinced that this decaying place has cursed them? Every Friday, \u003cem>The California Report Magazine\u003c/em> presents voices and stories from across our state on KQED Radio, and this January episode from its podcast showcase contains some particular surprises.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11641811/the-legend-of-the-lyft-rapper-and-the-curse-of-the-gold-rush-town\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">Subscribe to \u003cem>The California Report Magazine\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>The Cooler\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/pop/105754/put-some-respeck-on-serena-williams-name\">Put Some Respeck on Serena Williams’ Name\u003c/a>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-520x293.jpg 520w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>Remember tennis star Serena Williams’ controversial outburst at the U.S. Open this summer? KQED’s weekly pop culture podcast tackled the double standard endured by women in the public eye in showing their anger, and the consequences they face when they do—as well as dissecting the backlash to Colin Kaepernick’s Nike ad, and the thorny history of boycotts. Buckle up.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/105754/put-some-respeck-on-serena-williams-name\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">Subscribe to \u003cem>The Cooler\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>The Leap\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11677078/17andme\">17andMe\u003c/a>\u003c/strong>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787.jpg\" alt=\"\" width=\"1180\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-1020x680.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>Donating sperm to make money during your college years isn’t that unusual. Finding out twenty years later that you’ve got a bunch of kids who all want to meet you? That’s… a little less common. \u003cem>The Leap\u003c/em>, which tells stories about the risky choices people make in life, is consistently one of our most loved podcasts, and this hit episode from host Judy Campbell shows why.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11677078/17andme\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-leap/id1046668171?mt=2\">Subscribe to \u003cem>The Leap\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Forum\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/forum/2010101867565/anand-giridharadas-on-the-dark-side-of-elites-and-philanthropy\">Interview: Anand Giridharadas\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846992\" class=\"wp-caption alignnone\" style=\"max-width: 642px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/anand.png\" alt=\"\" width=\"642\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand.png 642w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-375x251.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-520x347.png 520w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003cfigcaption class=\"wp-caption-text\">Journalist and political analyst Anand Giridharadas \u003ccite>(Mackenzie Stroh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Why should the world’s biggest problems be solved by an unelected network of rich and powerful thought leaders, rather than public institutions and elected officials? How are entrepreneurs, philanthropists and tech billionaires are affecting the world—and perhaps making things worse? Journalist and political analyst Anand Giridharadas’s conversation on KQED Forum with Michael Krasny was the show’s most-heard interview via their podcast.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/forum/2010101867565/anand-giridharadas-on-the-dark-side-of-elites-and-philanthropy\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/kqeds-forum/id73329719?mt=2\">Subscribe to Forum on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\n",
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"excerpt": "Mysteries, daily news, pop culture, interviews—here are your most-listened-to KQED podcast episodes of 2018.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From daily news and mystery-solving to interviews and pop culture, our KQED podcasts—made right here in San Francisco—received millions of downloads this year.\u003c/p>\n\u003cp>Want to sample the stories and sounds that captured our audiences’ ears most? Here are our most-listened-to episodes of 2018—just in time to download for your holiday playlists.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Bay Curious\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11641238/how-the-san-francisco-school-lottery-works-and-how-it-doesnt-2\">How the San Francisco School Lottery Works, And How It Doesn’t\u003c/a>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846938\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/school-lottery-1180x664-1020x574.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>Overwhelming, stressful, baffling: these are just some of the words San Francisco families use to describe the way the city assigns their kids to a public school. How did we get here? Katrina Schwartz delves into SF’s notoriously fiendish student assignment system, known as “the lottery,” and how the heck it all works for the people caught up in it. (FYI, Katrina’s reporting featured here was actually cited as one of the reasons \u003ca href=\"https://www.kqed.org/news/11693522/two-s-f-school-board-commissioners-to-introduce-resolution-ending-lottery-system\">members of the school board want to end the current system\u003c/a>.)\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11641238/how-the-san-francisco-school-lottery-works-and-how-it-doesnt-2\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406?mt=2\">Subscribe to \u003cem>Bay Curious\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Mindshift\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/mindshift/52229/overcoming-childhood-trauma-how-parents-and-schools-work-to-stop-the-cycle\">Overcoming Childhood Trauma: How Parents and Schools Work to Stop the Cycle\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846897\" class=\"wp-caption alignnone\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Mindshift-Top.jpg\" alt=\"\" width=\"1180\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Mindshift-Top-1020x700.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sabrina Hanes, the subject of Mindshift’s podcast episode, with her daughter Aroara.. \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trauma one experiences as a child can live on in the adult body, even causing early death. So how can a parent try to beat the odds? \u003ca href=\"https://www.kqed.org/author/lklivans\">Laura Klivans\u003c/a>‘ moving story of one mother’s determination to overcome the trauma of her past for her daughter’s future is made all the more poignant by the fact it’s set in Paradise, Butte County—a community \u003ca href=\"https://www.kqed.org/news/11708389/no-time-to-rebuild-a-family-says-goodbye-to-paradise-after-58-years\">devastated by the recent Camp Fire\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/52229/overcoming-childhood-trauma-how-parents-and-schools-work-to-stop-the-cycle\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/mindshift-podcast/id1078765985?mt=2\">Subscribe to \u003cem>Mindshift\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Q’ed Up\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11673963/the-tacky-dishes-that-mean-the-world-to-one-california-couple\">The Tacky Dishes That Mean the World to One California Couple\u003c/a>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736.jpg\" alt=\"\" width=\"1180\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736-1020x636.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ariel Plotnick brings us a story about collectors, obsession and the unique diner dishware—known as \u003ca href=\"https://www.kqed.org/news/11673009/tepco-the-defunct-ceramics-factory-that-still-dishes-out-nostalgia\">TEPCO ceramics\u003c/a>—that have preoccupied one Bay Area couple for years. How could a style that’s derided as ugly, or tacky, by so many prove so alluring to them? Ryan Levi’s weekly \u003cem>Q’ed Up\u003c/em> podcast showcases the best of KQED News’ stories, and this one really struck a chord with our audiences.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11673963/the-tacky-dishes-that-mean-the-world-to-one-california-couple\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/qed-up/id1197721799?mt=2\">Subscribe to \u003cem>Q’ed Up\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Political Break\u003c/strong>\u003cstrong>down\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11698369/san-francisco-da-george-gascon-discusses-decision-not-to-seek-re-election-and-reflects-on-his-push-for-criminal-justice-reforms\">Interview: San Francisco DA George Gascón \u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846899\" class=\"wp-caption alignnone\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Gascon-1180x885.jpg\" alt=\"\" width=\"1180\" height=\"885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Gascon-1180x885-520x390.jpg 520w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco District Attorney George Gascón, with KQED Political Breakdown hosts Marisa Lagos and Scott Shafer. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Political Breakdown\u003c/em> hosts Scott Shafer and Marisa Lagos are known for getting the sorts of insights you wouldn’t normally expect from interview-wary politicians. Their pre-Election Day chat with SF District Attorney George Gascón was no exception—running the gamut from his childhood in Cuba to deciding whether to prosecute police officers after shootings.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11698369/san-francisco-da-george-gascon-discusses-decision-not-to-seek-re-election-and-reflects-on-his-push-for-criminal-justice-reforms\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/political-breakdown/id1327641087?mt=2\">Subscribe to \u003cem>Political Breakdown\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>The Bay\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11654685/no-fire-engines-here\">“No Fire Engines Here”\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846927\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211.jpg\" alt=\"\" width=\"1920\" height=\"1211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-1200x757.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-960x606.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS27213_GettyImages-859290782-qut-1920x1211-520x328.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A firefighter walks near a pool as a neighboring home burns in the Napa wine region in California on October 9, 2017. \u003ccite>(Josh Edelson/AFP-Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delayed evacuations, communication gaps, the North Bay on fire. This episode of KQED’s “storytelling for daily news” podcast, hosted by Devin Katayama, traces the first eight hours of October 8, as what became known nationally as the 2017 “Wine Country fires” took hold. This episode features reporter Sukey Lewis, who was involved in our newsroom’s \u003ca href=\"https://www.kqed.org/news/11644154/north-bay-fires-what-took-authorities-so-long-to-warn-people\">six-month investigation\u003c/a> of why it took North Bay authorities so long to warn people that night—with deadly consequences.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11654685/no-fire-engines-here\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-bay/id1350043452?mt=2\">Subscribe to \u003cem>The Bay\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>The California Report Magazine\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/news/11641811/the-legend-of-the-lyft-rapper-and-the-curse-of-the-gold-rush-town\">The Legend of the Lyft Rapper and the Curse of the Gold Rush Town\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846941\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/bodie.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/bodie-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ghost town of Bodie, California \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why is one Bay Area Lyft driver trying to change the sometimes-silent, often-awkward rideshare experience with his rap skills? Why are people who visit the Sierra ghost town of Bodie so convinced that this decaying place has cursed them? Every Friday, \u003cem>The California Report Magazine\u003c/em> presents voices and stories from across our state on KQED Radio, and this January episode from its podcast showcase contains some particular surprises.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11641811/the-legend-of-the-lyft-rapper-and-the-curse-of-the-gold-rush-town\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">Subscribe to \u003cem>The California Report Magazine\u003c/em> on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>The Cooler\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/pop/105754/put-some-respeck-on-serena-williams-name\">Put Some Respeck on Serena Williams’ Name\u003c/a>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Serena-Williams-1180x664-520x293.jpg 520w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>Remember tennis star Serena Williams’ controversial outburst at the U.S. Open this summer? KQED’s weekly pop culture podcast tackled the double standard endured by women in the public eye in showing their anger, and the consequences they face when they do—as well as dissecting the backlash to Colin Kaepernick’s Nike ad, and the thorny history of boycotts. Buckle up.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/105754/put-some-respeck-on-serena-williams-name\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">Subscribe to \u003cem>The Cooler\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>The Leap\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11677078/17andme\">17andMe\u003c/a>\u003c/strong>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13846947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787.jpg\" alt=\"\" width=\"1180\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS31512_family-qut-1180x787-1020x680.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>Donating sperm to make money during your college years isn’t that unusual. Finding out twenty years later that you’ve got a bunch of kids who all want to meet you? That’s… a little less common. \u003cem>The Leap\u003c/em>, which tells stories about the risky choices people make in life, is consistently one of our most loved podcasts, and this hit episode from host Judy Campbell shows why.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11677078/17andme\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/the-leap/id1046668171?mt=2\">Subscribe to \u003cem>The Leap\u003c/em> on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003cem>\u003cstrong>Forum\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.kqed.org/forum/2010101867565/anand-giridharadas-on-the-dark-side-of-elites-and-philanthropy\">Interview: Anand Giridharadas\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_13846992\" class=\"wp-caption alignnone\" style=\"max-width: 642px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/anand.png\" alt=\"\" width=\"642\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand.png 642w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-375x251.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/anand-520x347.png 520w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003cfigcaption class=\"wp-caption-text\">Journalist and political analyst Anand Giridharadas \u003ccite>(Mackenzie Stroh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Why should the world’s biggest problems be solved by an unelected network of rich and powerful thought leaders, rather than public institutions and elected officials? How are entrepreneurs, philanthropists and tech billionaires are affecting the world—and perhaps making things worse? Journalist and political analyst Anand Giridharadas’s conversation on KQED Forum with Michael Krasny was the show’s most-heard interview via their podcast.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/forum/2010101867565/anand-giridharadas-on-the-dark-side-of-elites-and-philanthropy\">Listen to the episode online\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://itunes.apple.com/us/podcast/kqeds-forum/id73329719?mt=2\">Subscribe to Forum on Apple Podcasts here\u003c/a>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"slug": "the-man-making-art-from-government-surveillance",
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"content": "\u003cp>Trevor Paglen writes the kinds of books that get you into weird conversations with strangers. He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>[contextly_sidebar id=”3ik7TOVrqXsWjKQIusKcHwbwTrgsmzMN”]\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>[contextly_sidebar id=”5fw6FI0bY4MtW7GPFoCEl2lZCwQAnawT”]\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>[contextly_sidebar id=”KwzzjJ7Jtmp2i0hYJnXW9dl5DLE7LVFY”]\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/669482142/669482143\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=The+Man+Making+Art+From+Government+Surveillance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trevor Paglen writes the kinds of books that get you into weird conversations with strangers. He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Nourse Theater Likely to be Renamed 'Sydney Goldstein Theater'",
"headTitle": "Nourse Theater Likely to be Renamed ‘Sydney Goldstein Theater’ | KQED",
"content": "\u003cp>San Francisco Unified School District (SFUSD) officials will vote Tuesday on a motion to change the name of the Nourse Theater in Hayes Valley to the Sydney Goldstein Theater.\u003c/p>\n\u003cp>The name change seeks to honor the founder of local public talks presenter \u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener\">City Arts and Lectures\u003c/a>, who passed away last September at 73.\u003c/p>\n\u003cp>Sydney Goldstein breathed new life into the SFUSD-owned Nourse Theater, renovating it after the historic building sat neglected for decades, said City Arts co-director Holly Mulder-Wollan in a phone interview.\u003c/p>\n\u003cfigure id=\"attachment_13593408\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg\" alt=\"City Arts & Lectures longtime leader Sydney Goldstein (right) with one of her main collaborators on the Nourse Theater renovation project, Moti Kazemi.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">City Arts & Lectures longtime leader Sydney Goldstein (right) pictured with one of her main collaborators on the Nourse Theatre renovation project, contractor Moti Kazemi. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every detail, from the sound system, to the seats, to the sconces, to the curtains, was really a passion project that Sydney poured her life into,” Mulder-Wollan said. “And we want to honor all the work that she did there.”\u003c/p>\n\u003cp>The Nourse Theater was originally named the the Nourse Auditorium in remembrance of Joseph Nourse, a teacher, principal and superintendent who worked for the San Francisco school district for 42 years in the early part of the 20th century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before Goldstein renovated the 1927 art deco building located on the corner of Hayes and Franklin Streets, it served many purposes.\u003c/p>\n\u003cp>Under Nourse, it originally housed the High School of Commerce.\u003c/p>\n\u003cp>When the institution closed in the 1950s, the school district started renting it out for events, including an Alcoholics Anonymous 30th anniversary party in 1965 and a poetry reading by Lawrence Ferlinghetti and Allen Ginsberg on Robert F. Kennedy’s funeral day in 1968. In 1985, it was used as a courtroom for a State Civil Court asbestos case that went on for two years.\u003c/p>\n\u003cp>After that, the theater closed its doors to the public. The school district used it as a storage space.\u003c/p>\n\u003cp>Kary Schulman, director of city culture funder Grants for the Arts, recalled visiting the abandoned theater with Goldstein soon after after City Arts’ founder learned that her longtime venue, the Herbst Theatre, was temporarily closing for seismic renovations.\u003c/p>\n\u003cp>“By great good luck, we found a kind custodian who was able to unlock the theatre, and turn on the lights revealing a scene of decay and abandonment that is difficult to describe,” wrote Schulman in an email. “There was a false floor, put in for the asbestos trials in the mid-’80s, and there was the stored detritus of decades of SFUSD discards: File boxes, old desks, piled high with computers from the Jurassic age of computers, broken office furniture, piles of lumber and building supplies, all stacked in unstable towers like those we’re used to seeing on the news after natural disasters. And all covered with dust and pigeon droppings.”\u003c/p>\n\u003cp>Schulman thought the space was unsalvageable. But Goldstein saw things differently. “Sydney could see at once that the space could be emptied, cleaned, painted, outfitted with new seats, an inviting green room, and a good sound system,” Schulman wrote. “She saw it could be an asset not only for City Arts and Lectures but for the whole arts community.”\u003c/p>\n\u003cp>City Arts started hosting events at the Nourse in April of 2013. The organization presents more than 50 shows at the theater each year.\u003c/p>\n\u003cp>Other Bay Area nonprofit organizations, including the San Francisco Gay Men’s Chorus, the San Francisco Civic Symphony, Youth Speaks and the California Institute of Integral Studies, keep the 1,800-seat space buzzing for an additional 60 nights annually.\u003c/p>\n\u003cp>KQED is the broadcast partner for the City Arts & Lectures radio series.\u003c/p>\n\u003cp>SFUSD commissioner Emily M. Murase said the school board is likely to approve the motion with no objections. She said she expects the new name to be in place on the building by sometime in the spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was really precipitated by Sydney Goldstein’s very untimely death in the fall,” Murase said in a phone interview. “It’s a very fitting tribute. She took what was basically a neglected property and really transformed it and activated it into a lively space for discussion and dialogue.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Unified School District (SFUSD) officials will vote Tuesday on a motion to change the name of the Nourse Theater in Hayes Valley to the Sydney Goldstein Theater.\u003c/p>\n\u003cp>The name change seeks to honor the founder of local public talks presenter \u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener\">City Arts and Lectures\u003c/a>, who passed away last September at 73.\u003c/p>\n\u003cp>Sydney Goldstein breathed new life into the SFUSD-owned Nourse Theater, renovating it after the historic building sat neglected for decades, said City Arts co-director Holly Mulder-Wollan in a phone interview.\u003c/p>\n\u003cfigure id=\"attachment_13593408\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg\" alt=\"City Arts & Lectures longtime leader Sydney Goldstein (right) with one of her main collaborators on the Nourse Theater renovation project, Moti Kazemi.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">City Arts & Lectures longtime leader Sydney Goldstein (right) pictured with one of her main collaborators on the Nourse Theatre renovation project, contractor Moti Kazemi. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every detail, from the sound system, to the seats, to the sconces, to the curtains, was really a passion project that Sydney poured her life into,” Mulder-Wollan said. “And we want to honor all the work that she did there.”\u003c/p>\n\u003cp>The Nourse Theater was originally named the the Nourse Auditorium in remembrance of Joseph Nourse, a teacher, principal and superintendent who worked for the San Francisco school district for 42 years in the early part of the 20th century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before Goldstein renovated the 1927 art deco building located on the corner of Hayes and Franklin Streets, it served many purposes.\u003c/p>\n\u003cp>Under Nourse, it originally housed the High School of Commerce.\u003c/p>\n\u003cp>When the institution closed in the 1950s, the school district started renting it out for events, including an Alcoholics Anonymous 30th anniversary party in 1965 and a poetry reading by Lawrence Ferlinghetti and Allen Ginsberg on Robert F. Kennedy’s funeral day in 1968. In 1985, it was used as a courtroom for a State Civil Court asbestos case that went on for two years.\u003c/p>\n\u003cp>After that, the theater closed its doors to the public. The school district used it as a storage space.\u003c/p>\n\u003cp>Kary Schulman, director of city culture funder Grants for the Arts, recalled visiting the abandoned theater with Goldstein soon after after City Arts’ founder learned that her longtime venue, the Herbst Theatre, was temporarily closing for seismic renovations.\u003c/p>\n\u003cp>“By great good luck, we found a kind custodian who was able to unlock the theatre, and turn on the lights revealing a scene of decay and abandonment that is difficult to describe,” wrote Schulman in an email. “There was a false floor, put in for the asbestos trials in the mid-’80s, and there was the stored detritus of decades of SFUSD discards: File boxes, old desks, piled high with computers from the Jurassic age of computers, broken office furniture, piles of lumber and building supplies, all stacked in unstable towers like those we’re used to seeing on the news after natural disasters. And all covered with dust and pigeon droppings.”\u003c/p>\n\u003cp>Schulman thought the space was unsalvageable. But Goldstein saw things differently. “Sydney could see at once that the space could be emptied, cleaned, painted, outfitted with new seats, an inviting green room, and a good sound system,” Schulman wrote. “She saw it could be an asset not only for City Arts and Lectures but for the whole arts community.”\u003c/p>\n\u003cp>City Arts started hosting events at the Nourse in April of 2013. The organization presents more than 50 shows at the theater each year.\u003c/p>\n\u003cp>Other Bay Area nonprofit organizations, including the San Francisco Gay Men’s Chorus, the San Francisco Civic Symphony, Youth Speaks and the California Institute of Integral Studies, keep the 1,800-seat space buzzing for an additional 60 nights annually.\u003c/p>\n\u003cp>KQED is the broadcast partner for the City Arts & Lectures radio series.\u003c/p>\n\u003cp>SFUSD commissioner Emily M. Murase said the school board is likely to approve the motion with no objections. She said she expects the new name to be in place on the building by sometime in the spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was really precipitated by Sydney Goldstein’s very untimely death in the fall,” Murase said in a phone interview. “It’s a very fitting tribute. She took what was basically a neglected property and really transformed it and activated it into a lively space for discussion and dialogue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Love Song to Paradise Goes From Viral Hit to Nashville Studio Single",
"headTitle": "Love Song to Paradise Goes From Viral Hit to Nashville Studio Single | KQED",
"content": "\u003cp>In the early days after the Camp Fire, we told you about a \u003ca href=\"https://www.kqed.org/arts/13845560/after-the-camp-fire-two-locals-write-a-love-song-to-paradise\" target=\"_blank\" rel=\"noopener\">couple of musicians from Paradise\u003c/a> who wrote a love song to their home town that went viral online. They were gifted professional studio time in Nashville two week ago, and now they’ve \u003ca href=\"https://itunes.apple.com/us/album/one-of-these-days-single/1446346865\" target=\"_blank\" rel=\"noopener\">released the results\u003c/a>.\u003c/p>\n\u003cp>When Nathaniel Smith and Miykael Goodwin of \u003ca href=\"https://www.facebook.com/ColdWeatherSons/\" target=\"_blank\" rel=\"noopener\">Cold Weather Sons\u003c/a> first wrote “One of These Days,” they were just two guys on two acoustic guitars, one of them gifted to Smith after he lost everything in the Camp Fire.\u003c/p>\n\u003cp>Like others forced to evacuate, Smith got his first look at the rubble last week.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: none; overflow: hidden;\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fnate.smith.3344%2Fvideos%2F10213320978195788%2F&show_text=0&width=267\" width=\"267\" height=\"476\" frameborder=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The 33-year-old tried his luck in Nashville for three years awhile back. “I was an assigned song writer there with \u003ca href=\"https://centricitymusic.com\" target=\"_blank\" rel=\"noopener\">Centricity Music\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As word of his situation spread on social media, Smith heard from \u003ca href=\"http://Chuck%20Butler\" target=\"_blank\" rel=\"noopener\">Chuck Butler\u003c/a> and \u003ca href=\"http://www.joelbruyere.com\" target=\"_blank\" rel=\"noopener\">Joël Bruyere\u003c/a> that a studio date awaited him and Goodwin if they could make it to Nashville. Goodwin’s family came up with the airfare.\u003c/p>\n\u003cp>“It was really emotional for me because I haven’t been back in nine or 10 years since I left,” Smith said.\u003c/p>\n\u003cp>Goodwin said they got good counsel at the mixing board: “Less is more.” He added the heart of the song is still there. It’s a fully produced track with drums and keyboards and electric guitars, but the vocals are the main point. “It’s about the message of the song, really,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13846733\" class=\"wp-caption aligncenter\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS34387_46917579_10215133495069924_7443451586967240704_n.jpeg\" alt=\"Miykael Goodwin feeling jazzed as he works on a professional studio production of One of These Days in Nashville.\" width=\"680\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34387_46917579_10215133495069924_7443451586967240704_n.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34387_46917579_10215133495069924_7443451586967240704_n-160x176.jpeg 160w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Miykael Goodwin feeling jazzed as he works on a professional studio production of One of These Days in Nashville. \u003ccite>(Photo: Courtesy of Cold Weather Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goodwin lives in Chico now, but he grew up in Paradise and said nearly all of his school buddies either lost their homes or know people who have. “Who knows what the future holds?” he said, although his hope is that the town will rebuild.\u003c/p>\n\u003cp>Soon you’ll be able to hear “One of These Days” on Amazon, iTunes, Spotify. The men intend to donate the proceeds to Camp Fire victims once they meet with an accountant and figure out how.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith qualifies as a refugee. He’s living with his dad in Chico now, and he’s got a \u003ca href=\"https://www.gofundme.com/help-nate-start-over?fbclid=IwAR2IlyaKC5Oztx9nu8B9Xmqwzj5JHMDFTzDM_R34rzfcIF-ishA0GN1bQS4\" target=\"_blank\" rel=\"noopener\">GoFundMe\u003c/a> page up in hopes of raising enough money to buy an acoustic \u003cem>electric\u003c/em> guitar for the benefit concerts they’re preparing to perform at in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13846732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-800x800.jpg\" alt=\"That backdrop is what's left of Nathaniel Smith's home in Paradise, California.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">That backdrop is what’s left of Nathaniel Smith’s home in Paradise, California. \u003ccite>(Photo: Courtesy of Cold Weather Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "A new Nashville version of Cold Weather Sons' lament for Paradise launches as a fundraising vehicle for Camp Fire Victims",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early days after the Camp Fire, we told you about a \u003ca href=\"https://www.kqed.org/arts/13845560/after-the-camp-fire-two-locals-write-a-love-song-to-paradise\" target=\"_blank\" rel=\"noopener\">couple of musicians from Paradise\u003c/a> who wrote a love song to their home town that went viral online. They were gifted professional studio time in Nashville two week ago, and now they’ve \u003ca href=\"https://itunes.apple.com/us/album/one-of-these-days-single/1446346865\" target=\"_blank\" rel=\"noopener\">released the results\u003c/a>.\u003c/p>\n\u003cp>When Nathaniel Smith and Miykael Goodwin of \u003ca href=\"https://www.facebook.com/ColdWeatherSons/\" target=\"_blank\" rel=\"noopener\">Cold Weather Sons\u003c/a> first wrote “One of These Days,” they were just two guys on two acoustic guitars, one of them gifted to Smith after he lost everything in the Camp Fire.\u003c/p>\n\u003cp>Like others forced to evacuate, Smith got his first look at the rubble last week.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: none; overflow: hidden;\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fnate.smith.3344%2Fvideos%2F10213320978195788%2F&show_text=0&width=267\" width=\"267\" height=\"476\" frameborder=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The 33-year-old tried his luck in Nashville for three years awhile back. “I was an assigned song writer there with \u003ca href=\"https://centricitymusic.com\" target=\"_blank\" rel=\"noopener\">Centricity Music\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As word of his situation spread on social media, Smith heard from \u003ca href=\"http://Chuck%20Butler\" target=\"_blank\" rel=\"noopener\">Chuck Butler\u003c/a> and \u003ca href=\"http://www.joelbruyere.com\" target=\"_blank\" rel=\"noopener\">Joël Bruyere\u003c/a> that a studio date awaited him and Goodwin if they could make it to Nashville. Goodwin’s family came up with the airfare.\u003c/p>\n\u003cp>“It was really emotional for me because I haven’t been back in nine or 10 years since I left,” Smith said.\u003c/p>\n\u003cp>Goodwin said they got good counsel at the mixing board: “Less is more.” He added the heart of the song is still there. It’s a fully produced track with drums and keyboards and electric guitars, but the vocals are the main point. “It’s about the message of the song, really,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13846733\" class=\"wp-caption aligncenter\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS34387_46917579_10215133495069924_7443451586967240704_n.jpeg\" alt=\"Miykael Goodwin feeling jazzed as he works on a professional studio production of One of These Days in Nashville.\" width=\"680\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34387_46917579_10215133495069924_7443451586967240704_n.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34387_46917579_10215133495069924_7443451586967240704_n-160x176.jpeg 160w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Miykael Goodwin feeling jazzed as he works on a professional studio production of One of These Days in Nashville. \u003ccite>(Photo: Courtesy of Cold Weather Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goodwin lives in Chico now, but he grew up in Paradise and said nearly all of his school buddies either lost their homes or know people who have. “Who knows what the future holds?” he said, although his hope is that the town will rebuild.\u003c/p>\n\u003cp>Soon you’ll be able to hear “One of These Days” on Amazon, iTunes, Spotify. The men intend to donate the proceeds to Camp Fire victims once they meet with an accountant and figure out how.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith qualifies as a refugee. He’s living with his dad in Chico now, and he’s got a \u003ca href=\"https://www.gofundme.com/help-nate-start-over?fbclid=IwAR2IlyaKC5Oztx9nu8B9Xmqwzj5JHMDFTzDM_R34rzfcIF-ishA0GN1bQS4\" target=\"_blank\" rel=\"noopener\">GoFundMe\u003c/a> page up in hopes of raising enough money to buy an acoustic \u003cem>electric\u003c/em> guitar for the benefit concerts they’re preparing to perform at in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13846732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-800x800.jpg\" alt=\"That backdrop is what's left of Nathaniel Smith's home in Paradise, California.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/RS34386_7-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">That backdrop is what’s left of Nathaniel Smith’s home in Paradise, California. \u003ccite>(Photo: Courtesy of Cold Weather Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Little personal information is out there about R&B singer H.E.R., who, until recently, didn’t show her face in her videos or promo materials.\u003c/p>\n\u003cp>The mysterious Vallejo-raised singer, born Gabi Wilson, got her first record deal at age 14. Now 21 years old, she’s become a critical darling since releasing her self-titled EPs \u003cem>H.E.R. Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> in 2016 and ’17. She counts Rihanna, Alicia Keys, Usher and \u003ca href=\"https://twitter.com/hermusicx/status/898295477858295808?lang=en\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> among her fans. Since her debut, H.E.R. has snagged two No. 1 singles on Billboard’s adult R&B chart, “Focus” and “Best Part” featuring fellow rising R&B star Daniel Caesar, and supported Bryson Tiller and Chris Brown on tour.\u003c/p>\n\u003cp>H.E.R., whose smoky voice and wise-beyond-her-years lyrics have drawn comparisons to Lauryn Hill, can now add five Grammy nominations to her impressive resume. The \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">slate of 2019 contenders\u003c/a>, announced Friday, has her up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album. H.E.R. told Billboard that the album of the year nomination— where she’s up against heavy-hitters Cardi B, Drake and Post Malone—surprised her the most. It’s for her self-titled album (RCA), comprised of songs from those earlier \u003cem>Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> EPs.\u003c/p>\n\u003cp>Discussing the spontaneous nature of the project, she she told \u003ca href=\"https://www.billboard.com/articles/news/grammys/8489232/her-talks-5-grammy-nominations-staying-true-to-herself-people-just\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>: “It was literally a ‘It’s time for me to drop music. I finally realized who I was. Let me just see what happens’ [kind of thing]. Then, two years later, a sold-out tour and five Grammy nominations.”\u003c/p>\n\u003cp>We’ll be rooting for H.E.R. when the Grammy Awards air on Feb. 10. Check out the full list of 2019 nominees \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Z5ze4CUAkE8\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Little personal information is out there about R&B singer H.E.R., who, until recently, didn’t show her face in her videos or promo materials.\u003c/p>\n\u003cp>The mysterious Vallejo-raised singer, born Gabi Wilson, got her first record deal at age 14. Now 21 years old, she’s become a critical darling since releasing her self-titled EPs \u003cem>H.E.R. Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> in 2016 and ’17. She counts Rihanna, Alicia Keys, Usher and \u003ca href=\"https://twitter.com/hermusicx/status/898295477858295808?lang=en\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> among her fans. Since her debut, H.E.R. has snagged two No. 1 singles on Billboard’s adult R&B chart, “Focus” and “Best Part” featuring fellow rising R&B star Daniel Caesar, and supported Bryson Tiller and Chris Brown on tour.\u003c/p>\n\u003cp>H.E.R., whose smoky voice and wise-beyond-her-years lyrics have drawn comparisons to Lauryn Hill, can now add five Grammy nominations to her impressive resume. The \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">slate of 2019 contenders\u003c/a>, announced Friday, has her up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album. H.E.R. told Billboard that the album of the year nomination— where she’s up against heavy-hitters Cardi B, Drake and Post Malone—surprised her the most. It’s for her self-titled album (RCA), comprised of songs from those earlier \u003cem>Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> EPs.\u003c/p>\n\u003cp>Discussing the spontaneous nature of the project, she she told \u003ca href=\"https://www.billboard.com/articles/news/grammys/8489232/her-talks-5-grammy-nominations-staying-true-to-herself-people-just\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>: “It was literally a ‘It’s time for me to drop music. I finally realized who I was. Let me just see what happens’ [kind of thing]. Then, two years later, a sold-out tour and five Grammy nominations.”\u003c/p>\n\u003cp>We’ll be rooting for H.E.R. when the Grammy Awards air on Feb. 10. Check out the full list of 2019 nominees \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How the Bay Area Art Scene Persevered in 2018",
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"content": "\u003cp>Thinking back on the ups and downs of 2018, I have personal tendency to look for the worst—the signs of collapse, of slow downfalls and impending doom. But was this year in local visual arts any different from nearly every year in recent memory that came before it?\u003c/p>\n\u003cp>Museums and commercial galleries \u003ca href=\"https://www.kqed.org/arts/13823866/google-tell-me-about-the-exhibit-designed-in-california-at-sfmoma\" target=\"_blank\" rel=\"noopener\">courted\u003c/a> big tech money; institutions restructured; spaces \u003ca href=\"https://www.kqed.org/arts/13846330/this-new-nonprofit-gallery-is-named-yep-thats-a-single-slash\" target=\"_blank\" rel=\"noopener\">opened\u003c/a> and (more often) \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">artists and art workers\u003c/a> did the hard, on-the-ground work of holding it all together, making incredible objects and experiences with increasingly limited time, resources and space. (Stay tuned for next week’s “Best of 2018” list.)\u003c/p>\n\u003cp>I can’t say the past year in the Bay Area visual art scene has been a net positive—we lost \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\" target=\"_blank\" rel=\"noopener\">too many\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener\">beloved members\u003c/a> of the community—but the combined efforts of those who remain steadfastly committed to supporting arts and culture at every level give me hope.\u003c/p>\n\u003ch2>A dwindling curatorial staff\u003c/h2>\n\u003cp>Across our largest institutions, the theme in curatorial departments was “reshuffling.” As KQED \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener\">reported in September\u003c/a>, YBCA put its film program on hiatus (after laying off its film curator); SFAI eliminated its in-house curatorial staff for exhibitions and public programs; and the di Rosa Center for Contemporary Art dismissed its assistant curator without plans to rehire.\u003c/p>\n\u003cp>While these are the most egregious eliminations, other structural changes within Bay Area curatorial departments reflect a growing trend: organizations filling roles left by top-level curators with internal promotions just shy of the previous title (and likely, pay).\u003c/p>\n\u003cfigure id=\"attachment_13846570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200.jpg\" alt=\"The Contemporary Jewish Museum's Chief Curator Renny Pritikin is set to retire at the end of 2018.\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13846570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-1020x638.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Contemporary Jewish Museum’s Chief Curator Renny Pritikin is set to retire at the end of 2018. \u003ccite>(Photo: Gary Sexton; Courtesy of Contemporary Jewish Museum )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We see this happening at the Contemporary Jewish Museum, where Chief Curator Renny Pritikin \u003ca href=\"https://www.thecjm.org/pages/160\" target=\"_blank\" rel=\"noopener\">will retire\u003c/a> at the end of this year. In his stead, current CJM curator Heidi Rabben assumes the role of senior curator (not chief), while three other members of the exhibitions and curatorial team received corresponding promotions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, across the street, Chief of Program and Pedagogy (and lead curator of performing arts) Marc Bamuthi Joseph \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/marc-bamuthi-joseph-to-leave-ybca-for-kennedy-center\" target=\"_blank\" rel=\"noopener\">will leave YBCA\u003c/a> for a new position at the Kennedy Center at the end of 2018, following the departure of Visual Arts Director Lucía Sanromán (who remains in an at-large curatorial role), and the aforementioned dismissal of film curator Joel Shepard. While Assistant Director Dorothy Davila assumed Sanromán’s title, until Bamuthi Joseph’s position is reimagined or redefined by YBCA’s announced “planning process to advance the organization’s curatorial and programmatic strategies,” the multidisciplinary arts center will remain without curatorial leads in performing arts or film.\u003c/p>\n\u003cp>Not to be left out, SFMOMA has had its share of curatorial staffing changes, mainly within the education and public practice department. (This is the department responsible for, among other fantastic things, \u003ci>\u003ca href=\"https://publicknowledge.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">Public Knowledge\u003c/a>\u003c/i>, the museum’s ongoing collaboration with the San Francisco Public Library.) Three curators (Frank Smigiel, Dominic Willsdon and Deena Chalabi) all left the museum (or in Chalabi’s case, are about to leave) for other positions/cities/lines of work. And while searches will begin to fill Willsdon and Chalabi’s jobs, Smigiel’s position as associate curator of performance and film no longer exists, raising questions about how performance art will fit within the museum’s future programming.\u003c/p>\n\u003cfigure id=\"attachment_13827300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg\" alt=\"Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018, a video and performance piece commissioned by SFMOMA and curated by Frank Smigiel.\" width=\"1200\" height=\"749\" class=\"size-full wp-image-13827300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018, a video and performance piece commissioned by SFMOMA and curated by Frank Smigiel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And we can’t forget director \u003ca href=\"https://www.kqed.org/arts/13829184/next-search-for-new-famsf-director-is-on-after-the-met-poaches-max-hollein\" target=\"_blank\" rel=\"noopener\">Max Hollein left\u003c/a> the Fine Arts Museums of San Francisco for the Met. Halfway across the country, he high-fived in mid-air with the previous Met director, Thomas Campbell, who assumed Hollein’s just-vacated role here in November. Everybody shrugged.\u003c/p>\n\u003cp>“But all of this is so inside baseball,” you say. “How do internal shenanigans affect the average museumgoer?”\u003c/p>\n\u003cp>I’m so glad you asked.\u003c/p>\n\u003cp>As a general rule of thumb, institutions occupied with laying off staff and assigning more work but not enough money to those who remain are \u003ci>not\u003c/i> engaged with bringing you the best programming possible. In the worst cases, we see the elimination of an entire department (SFAI, YBCA) and the outsourcing of curating to short-term hires, teaching staff and \u003ca href=\"https://www.ybca.org/whats-on/blood-and-guts\" target=\"_blank\" rel=\"noopener\">external partnerships\u003c/a>. (Or conversely, we see non-curatorial leadership assuming curatorial roles.) And in the best cases, institutions continue to operate at full capacity, but do so by demanding more from already overstretched staff.\u003c/p>\n\u003ch2>Change for good\u003c/h2>\n\u003cp>The good news is these institutions are not the only ones in charge of what gets seen and supported in terms of Bay Area arts and culture. Some truly great things happened this year in the public sphere. In June, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/arts/13825649/san-francisco-street-could-be-renamed-frida-kahlo-way\" target=\"_blank\" rel=\"noopener\">unanimously approved legislation\u003c/a> changing the name of Phelan Avenue (outside City College) to Frida Kahlo Way, removing the family name of a former San Francisco mayor and state senator who once ran under the slogan “Keep California White.”\u003c/p>\n\u003cfigure id=\"attachment_13825682\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/PhelanAvenue.jpg\" alt=\"The street formerly known as Phelan Avenue, in 2017.\" width=\"876\" height=\"493\" class=\"size-full wp-image-13825682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue.jpg 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-520x293.jpg 520w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">The street formerly known as Phelan Avenue, in 2017. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city also removed the \u003ci>Early Days\u003c/i> monument, \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\" target=\"_blank\" rel=\"noopener\">a long-protested statue\u003c/a> situated between the Asian Art Museum and main branch of the library, depicting a vaquero and a missionary looming over a Native American figure.\u003c/p>\n\u003cp>And in early October, the San Francisco Board of Supervisors (again) voted unanimously \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\" target=\"_blank\" rel=\"noopener\">to approve a measure\u003c/a> that requires at least 30 percent of historical figures depicted or commemorated in statues and other artworks on city-owned property be women. The \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> rightfully identifies the current lack of representation (of 585 permanent works in the city’s civic art collection, only two are nonfictional women) as “a harmful void in our public spaces.”\u003c/p>\n\u003ch2>Organizing for visibility\u003c/h2>\n\u003cp>But what really inspires me, and what always inspires me, are the ground-level efforts of artists and art workers calling for equity, accountability and accessibility in a place that increasingly feels hostile to the arts.\u003c/p>\n\u003cp>The Oakland-based Office and Professional Employees International Union Local 29, which represents 245 SFMOMA employees, \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\" target=\"_blank\" rel=\"noopener\">negotiated for 14 weeks\u003c/a> (with over 100 hours of deliberation) to secure a new four-year contract with the museum that includes a three-percent across-the-board wage increase every year.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bmdq0XClM6r/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Acknowledgement of those workers, and their value, didn’t come from just the museum and behind closed doors. In early August, after three months of negotiations, union members began taking their breaks in the museum’s second-floor atrium, asserting their presence in a space usually filled with museum visitors who might not think twice about the ticket scanner, the art installer, or the editor of that informative wall text.\u003c/p>\n\u003cp>Around the same time, the union set up an \u003ca href=\"https://www.instagram.com/sfmomaunion/\" target=\"_blank\" rel=\"noopener\">Instagram account\u003c/a>, posting pictures of associate registrars, library workers, front-of-line staff, store employees and mail clerks—all union members demanding a fair wage in one of the most expensive metropolitan regions in the world.\u003c/p>\n\u003cp>This year also saw the launch of \u003ca href=\"https://www.kqed.org/arts/13843523/womxn-art-handlers-carefully-deinstall-the-glass-ceiling-of-the-preparator-world\" target=\"_blank\" rel=\"noopener\">Womxn* Art Handlers\u003c/a>, a group dedicated to supporting women, people of color, queer and gender non-conforming individuals in the professional arts industry. Following on the heels of efforts like the \u003ca href=\"http://www.bayareaartworkersalliance.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Art Workers’ Alliance\u003c/a>, which advocated for greater visibility and solidarity within the preparator field, W*AH organizes meetups, special outings and most recently, a free \u003ca href=\"https://www.eventbrite.com/e/spring-2019-wah-women-art-handlers-workshops-registration-51970578399\" target=\"_blank\" rel=\"noopener\">public education course\u003c/a> at SFAI.\u003c/p>\n\u003cfigure id=\"attachment_13843543\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER.jpg\" alt=\"Organizers Kat Trataris (left) and Marcela Pardo Ariza (center) and W*AH member Jerome Rivera Pansa at the Womxn* Art Handlers mixer at Jessica Silverman Gallery on Sept. 25, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13843543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Organizers Kat Trataris (left) and Marcela Pardo Ariza (center) and W*AH member Jerome Rivera Pansa at the Womxn* Art Handlers mixer at Jessica Silverman Gallery on Sept. 25, 2018. \u003ccite>(Photo by Caitlin Petersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To help forge a path forward in 2019, experimental nonprofit venue \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a> recently released two incredible documents. One is \u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf53e464ae2376294e4c0ef/1542798918571/2018+The+Lab+Papers+BAAEcosystem+Carrie+Hott.pdf\" target=\"_blank\" rel=\"noopener\">a map\u003c/a>, created by artist Carrie Hott, of Bay Area art institutions’ annual budgets. This, combined with \u003ca href=\"https://wageforwork.com/home#top\" target=\"_blank\" rel=\"noopener\">W.A.G.E.\u003c/a> standards for pay, can help artists and art workers \u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf540b00e2e722368bd5c3b/1542799537347/A+Guide+to+Negotiating+Fair+Compensation+in+the+Arts.pdf\" target=\"_blank\" rel=\"noopener\">negotiate for fair compensation\u003c/a> from those institutions.\u003c/p>\n\u003cp>The other document was a PDF titled “\u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf4f7bc562fa744541b508b/1542780861929/Bay+Area+Common+Wealth.pdf\" target=\"_blank\" rel=\"noopener\">Bay Area Common Wealth\u003c/a>,” a guide to cooperatively owned resources and existing networks of support. “As infrastructure fails to support us,” Lab director Dena Beard wrote of the list, “we must demonstrate that we already have the tools to support each other.”\u003c/p>\n\u003cp>Such efforts at organizing for the betterment of the Bay Area art scene may seem small, but they’re reminders that recognition for the arts (and fair compensation) can and must be forcefully carved out of the region’s booming economy. These grassroots steps towards radical transparency can serve as templates for similar actions and demands at all levels—and ideally, hold those at the very top accountable for their decisions. \u003c/p>\n\u003cp>What if those holding the power (and the multi-million-dollar budgets) were able to admit they don’t necessarily know the way forward? What if we all joined in a collective effort to prevent the Bay Area art scene from becoming one giant video screen in the cloud—er, sky?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The dream isn’t just a baseline level of acknowledgement, a hand-to-mouth situation in which art simply continues to exist. The dream is an arts scene that thrives.\u003c/p>\n\n",
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"title": "How the Bay Area Art Scene Persevered in 2018 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thinking back on the ups and downs of 2018, I have personal tendency to look for the worst—the signs of collapse, of slow downfalls and impending doom. But was this year in local visual arts any different from nearly every year in recent memory that came before it?\u003c/p>\n\u003cp>Museums and commercial galleries \u003ca href=\"https://www.kqed.org/arts/13823866/google-tell-me-about-the-exhibit-designed-in-california-at-sfmoma\" target=\"_blank\" rel=\"noopener\">courted\u003c/a> big tech money; institutions restructured; spaces \u003ca href=\"https://www.kqed.org/arts/13846330/this-new-nonprofit-gallery-is-named-yep-thats-a-single-slash\" target=\"_blank\" rel=\"noopener\">opened\u003c/a> and (more often) \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">artists and art workers\u003c/a> did the hard, on-the-ground work of holding it all together, making incredible objects and experiences with increasingly limited time, resources and space. (Stay tuned for next week’s “Best of 2018” list.)\u003c/p>\n\u003cp>I can’t say the past year in the Bay Area visual art scene has been a net positive—we lost \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\" target=\"_blank\" rel=\"noopener\">too many\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\" target=\"_blank\" rel=\"noopener\">beloved members\u003c/a> of the community—but the combined efforts of those who remain steadfastly committed to supporting arts and culture at every level give me hope.\u003c/p>\n\u003ch2>A dwindling curatorial staff\u003c/h2>\n\u003cp>Across our largest institutions, the theme in curatorial departments was “reshuffling.” As KQED \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener\">reported in September\u003c/a>, YBCA put its film program on hiatus (after laying off its film curator); SFAI eliminated its in-house curatorial staff for exhibitions and public programs; and the di Rosa Center for Contemporary Art dismissed its assistant curator without plans to rehire.\u003c/p>\n\u003cp>While these are the most egregious eliminations, other structural changes within Bay Area curatorial departments reflect a growing trend: organizations filling roles left by top-level curators with internal promotions just shy of the previous title (and likely, pay).\u003c/p>\n\u003cfigure id=\"attachment_13846570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200.jpg\" alt=\"The Contemporary Jewish Museum's Chief Curator Renny Pritikin is set to retire at the end of 2018.\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13846570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Renny-Pritikin-2_1200-1020x638.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Contemporary Jewish Museum’s Chief Curator Renny Pritikin is set to retire at the end of 2018. \u003ccite>(Photo: Gary Sexton; Courtesy of Contemporary Jewish Museum )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We see this happening at the Contemporary Jewish Museum, where Chief Curator Renny Pritikin \u003ca href=\"https://www.thecjm.org/pages/160\" target=\"_blank\" rel=\"noopener\">will retire\u003c/a> at the end of this year. In his stead, current CJM curator Heidi Rabben assumes the role of senior curator (not chief), while three other members of the exhibitions and curatorial team received corresponding promotions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, across the street, Chief of Program and Pedagogy (and lead curator of performing arts) Marc Bamuthi Joseph \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/marc-bamuthi-joseph-to-leave-ybca-for-kennedy-center\" target=\"_blank\" rel=\"noopener\">will leave YBCA\u003c/a> for a new position at the Kennedy Center at the end of 2018, following the departure of Visual Arts Director Lucía Sanromán (who remains in an at-large curatorial role), and the aforementioned dismissal of film curator Joel Shepard. While Assistant Director Dorothy Davila assumed Sanromán’s title, until Bamuthi Joseph’s position is reimagined or redefined by YBCA’s announced “planning process to advance the organization’s curatorial and programmatic strategies,” the multidisciplinary arts center will remain without curatorial leads in performing arts or film.\u003c/p>\n\u003cp>Not to be left out, SFMOMA has had its share of curatorial staffing changes, mainly within the education and public practice department. (This is the department responsible for, among other fantastic things, \u003ci>\u003ca href=\"https://publicknowledge.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">Public Knowledge\u003c/a>\u003c/i>, the museum’s ongoing collaboration with the San Francisco Public Library.) Three curators (Frank Smigiel, Dominic Willsdon and Deena Chalabi) all left the museum (or in Chalabi’s case, are about to leave) for other positions/cities/lines of work. And while searches will begin to fill Willsdon and Chalabi’s jobs, Smigiel’s position as associate curator of performance and film no longer exists, raising questions about how performance art will fit within the museum’s future programming.\u003c/p>\n\u003cfigure id=\"attachment_13827300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg\" alt=\"Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018, a video and performance piece commissioned by SFMOMA and curated by Frank Smigiel.\" width=\"1200\" height=\"749\" class=\"size-full wp-image-13827300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018, a video and performance piece commissioned by SFMOMA and curated by Frank Smigiel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And we can’t forget director \u003ca href=\"https://www.kqed.org/arts/13829184/next-search-for-new-famsf-director-is-on-after-the-met-poaches-max-hollein\" target=\"_blank\" rel=\"noopener\">Max Hollein left\u003c/a> the Fine Arts Museums of San Francisco for the Met. Halfway across the country, he high-fived in mid-air with the previous Met director, Thomas Campbell, who assumed Hollein’s just-vacated role here in November. Everybody shrugged.\u003c/p>\n\u003cp>“But all of this is so inside baseball,” you say. “How do internal shenanigans affect the average museumgoer?”\u003c/p>\n\u003cp>I’m so glad you asked.\u003c/p>\n\u003cp>As a general rule of thumb, institutions occupied with laying off staff and assigning more work but not enough money to those who remain are \u003ci>not\u003c/i> engaged with bringing you the best programming possible. In the worst cases, we see the elimination of an entire department (SFAI, YBCA) and the outsourcing of curating to short-term hires, teaching staff and \u003ca href=\"https://www.ybca.org/whats-on/blood-and-guts\" target=\"_blank\" rel=\"noopener\">external partnerships\u003c/a>. (Or conversely, we see non-curatorial leadership assuming curatorial roles.) And in the best cases, institutions continue to operate at full capacity, but do so by demanding more from already overstretched staff.\u003c/p>\n\u003ch2>Change for good\u003c/h2>\n\u003cp>The good news is these institutions are not the only ones in charge of what gets seen and supported in terms of Bay Area arts and culture. Some truly great things happened this year in the public sphere. In June, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/arts/13825649/san-francisco-street-could-be-renamed-frida-kahlo-way\" target=\"_blank\" rel=\"noopener\">unanimously approved legislation\u003c/a> changing the name of Phelan Avenue (outside City College) to Frida Kahlo Way, removing the family name of a former San Francisco mayor and state senator who once ran under the slogan “Keep California White.”\u003c/p>\n\u003cfigure id=\"attachment_13825682\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/PhelanAvenue.jpg\" alt=\"The street formerly known as Phelan Avenue, in 2017.\" width=\"876\" height=\"493\" class=\"size-full wp-image-13825682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue.jpg 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PhelanAvenue-520x293.jpg 520w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">The street formerly known as Phelan Avenue, in 2017. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city also removed the \u003ci>Early Days\u003c/i> monument, \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\" target=\"_blank\" rel=\"noopener\">a long-protested statue\u003c/a> situated between the Asian Art Museum and main branch of the library, depicting a vaquero and a missionary looming over a Native American figure.\u003c/p>\n\u003cp>And in early October, the San Francisco Board of Supervisors (again) voted unanimously \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\" target=\"_blank\" rel=\"noopener\">to approve a measure\u003c/a> that requires at least 30 percent of historical figures depicted or commemorated in statues and other artworks on city-owned property be women. The \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> rightfully identifies the current lack of representation (of 585 permanent works in the city’s civic art collection, only two are nonfictional women) as “a harmful void in our public spaces.”\u003c/p>\n\u003ch2>Organizing for visibility\u003c/h2>\n\u003cp>But what really inspires me, and what always inspires me, are the ground-level efforts of artists and art workers calling for equity, accountability and accessibility in a place that increasingly feels hostile to the arts.\u003c/p>\n\u003cp>The Oakland-based Office and Professional Employees International Union Local 29, which represents 245 SFMOMA employees, \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\" target=\"_blank\" rel=\"noopener\">negotiated for 14 weeks\u003c/a> (with over 100 hours of deliberation) to secure a new four-year contract with the museum that includes a three-percent across-the-board wage increase every year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Acknowledgement of those workers, and their value, didn’t come from just the museum and behind closed doors. In early August, after three months of negotiations, union members began taking their breaks in the museum’s second-floor atrium, asserting their presence in a space usually filled with museum visitors who might not think twice about the ticket scanner, the art installer, or the editor of that informative wall text.\u003c/p>\n\u003cp>Around the same time, the union set up an \u003ca href=\"https://www.instagram.com/sfmomaunion/\" target=\"_blank\" rel=\"noopener\">Instagram account\u003c/a>, posting pictures of associate registrars, library workers, front-of-line staff, store employees and mail clerks—all union members demanding a fair wage in one of the most expensive metropolitan regions in the world.\u003c/p>\n\u003cp>This year also saw the launch of \u003ca href=\"https://www.kqed.org/arts/13843523/womxn-art-handlers-carefully-deinstall-the-glass-ceiling-of-the-preparator-world\" target=\"_blank\" rel=\"noopener\">Womxn* Art Handlers\u003c/a>, a group dedicated to supporting women, people of color, queer and gender non-conforming individuals in the professional arts industry. Following on the heels of efforts like the \u003ca href=\"http://www.bayareaartworkersalliance.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Art Workers’ Alliance\u003c/a>, which advocated for greater visibility and solidarity within the preparator field, W*AH organizes meetups, special outings and most recently, a free \u003ca href=\"https://www.eventbrite.com/e/spring-2019-wah-women-art-handlers-workshops-registration-51970578399\" target=\"_blank\" rel=\"noopener\">public education course\u003c/a> at SFAI.\u003c/p>\n\u003cfigure id=\"attachment_13843543\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER.jpg\" alt=\"Organizers Kat Trataris (left) and Marcela Pardo Ariza (center) and W*AH member Jerome Rivera Pansa at the Womxn* Art Handlers mixer at Jessica Silverman Gallery on Sept. 25, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13843543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/4.-JSG-Mixer_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Organizers Kat Trataris (left) and Marcela Pardo Ariza (center) and W*AH member Jerome Rivera Pansa at the Womxn* Art Handlers mixer at Jessica Silverman Gallery on Sept. 25, 2018. \u003ccite>(Photo by Caitlin Petersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To help forge a path forward in 2019, experimental nonprofit venue \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a> recently released two incredible documents. One is \u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf53e464ae2376294e4c0ef/1542798918571/2018+The+Lab+Papers+BAAEcosystem+Carrie+Hott.pdf\" target=\"_blank\" rel=\"noopener\">a map\u003c/a>, created by artist Carrie Hott, of Bay Area art institutions’ annual budgets. This, combined with \u003ca href=\"https://wageforwork.com/home#top\" target=\"_blank\" rel=\"noopener\">W.A.G.E.\u003c/a> standards for pay, can help artists and art workers \u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf540b00e2e722368bd5c3b/1542799537347/A+Guide+to+Negotiating+Fair+Compensation+in+the+Arts.pdf\" target=\"_blank\" rel=\"noopener\">negotiate for fair compensation\u003c/a> from those institutions.\u003c/p>\n\u003cp>The other document was a PDF titled “\u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf4f7bc562fa744541b508b/1542780861929/Bay+Area+Common+Wealth.pdf\" target=\"_blank\" rel=\"noopener\">Bay Area Common Wealth\u003c/a>,” a guide to cooperatively owned resources and existing networks of support. “As infrastructure fails to support us,” Lab director Dena Beard wrote of the list, “we must demonstrate that we already have the tools to support each other.”\u003c/p>\n\u003cp>Such efforts at organizing for the betterment of the Bay Area art scene may seem small, but they’re reminders that recognition for the arts (and fair compensation) can and must be forcefully carved out of the region’s booming economy. These grassroots steps towards radical transparency can serve as templates for similar actions and demands at all levels—and ideally, hold those at the very top accountable for their decisions. \u003c/p>\n\u003cp>What if those holding the power (and the multi-million-dollar budgets) were able to admit they don’t necessarily know the way forward? What if we all joined in a collective effort to prevent the Bay Area art scene from becoming one giant video screen in the cloud—er, sky?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The dream isn’t just a baseline level of acknowledgement, a hand-to-mouth situation in which art simply continues to exist. The dream is an arts scene that thrives.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Sorry to Bother You,' 'Blindspotting' Shut Out of Golden Globe Nominations",
"headTitle": "‘Sorry to Bother You,’ ‘Blindspotting’ Shut Out of Golden Globe Nominations | KQED",
"content": "\u003cp>It was a \u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-ae-blindspotting-writers-0715-story.html\" rel=\"noopener\" target=\"_blank\">banner year\u003c/a> for Oakland film, but you wouldn’t know it from the Golden Globe nominations, announced this morning. \u003c/p>\n\u003cp>Boots Riley’s much-heralded \u003cem>Sorry to Bother You\u003c/em> and Daveed Diggs and Rafael Casal’s incisive \u003cem>Blindspotting\u003c/em> are nowhere to be found on the list. \u003cem>Black Panther\u003c/em>, the smash box-office hit with scenes set but \u003ca href=\"https://www.chicagotribune.com/lifestyles/travel/ct-black-panther-atlanta-20180321-story.html\" rel=\"noopener\" target=\"_blank\">not actually filmed in Oakland\u003c/a>, is up for three awards, including Best Motion Picture: Drama. \u003c/p>\n\u003cp>[contextly_sidebar id=”3bnalokqD2WkSQqVPFkofVUW2BYYACLI”]\u003c/p>\n\u003cp>It’s probably not surprising that \u003cem>Sorry To Bother You\u003c/em> was just a little too weird, or politically radical, to make the list. But to see five nominations for \u003cem>Green Book\u003c/em>, a \u003ca href=\"https://themuse.jezebel.com/green-book-is-another-film-about-race-for-white-people-1830460623\" rel=\"noopener\" target=\"_blank\">let’s-solve-racism movie\u003c/a> directed by the \u003cem>There’s Something About Mary\u003c/em> guy and repeatedly \u003ca href=\"https://www.vox.com/2018/11/16/18069756/green-book-review-racism-schomburg-segregation\" rel=\"noopener\" target=\"_blank\">criticized\u003c/a> for its \u003ca href=\"https://www.theguardian.com/film/2018/dec/03/peter-farrelly-green-book-mahershala-ali-viggo-mortensen\" rel=\"noopener\" target=\"_blank\">white perspective\u003c/a>, is to start wading into \u003cem>Crash\u003c/em> territory.\u003c/p>\n\u003cp>The complete list of nominations is below. And, after you’re done puzzling over the Dick Cheney biopic \u003cem>Vice\u003c/em> in the “Musical or Comedy” category (War crimes! Hilarious!) while the full-of-songs Freddie Mercury biopic \u003cem>Bohemian Rhapsody\u003c/em> lands over in “Drama,” watch \u003cem>Sorry to Bother You\u003c/em> and \u003cem>Blindspotting\u003c/em> if you haven’t already, and be proud of Oakland’s incredible talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Golden Globes air on Jan. 6, 2019, with Sandra Oh and Andy Samberg as hosts.\u003c/p>\n\u003ch2>Complete 76th Golden Globes Nominations\u003c/h2>\n\u003cp>\u003cstrong>Best Television Series – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Barry\u003c/em> (HBO)\u003cbr>\n\u003cem>The Good Place\u003c/em> (NBC)\u003cbr>\n\u003cem>Kidding\u003c/em> (Showtime)\u003cbr>\n\u003cem>The Kominsky Method\u003c/em> (Netflix)\u003cbr>\n\u003cem>The Marvelous Mrs. Maisel\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Foreign Language\u003c/strong>\u003cbr>\n\u003cem>Capernaum\u003c/em>\u003cbr>\n\u003cem>Girl\u003c/em>\u003cbr>\n\u003cem>Never Look Away\u003c/em>\u003cbr>\n\u003cem>Roma\u003c/em>\u003cbr>\n\u003cem>Shoplifters\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAntonia Banderas\u003cbr>\nDaniel Brul\u003cbr>\nDarren Criss\u003cbr>\nBenedict Cumberbatch\u003cbr>\nHugh Grant\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAmy Adams (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPatricia Arquette (\u003cem>Escape at Dannemora\u003c/em>)\u003cbr>\nConnie Britton (\u003cem>Dirty John\u003c/em>)\u003cbr>\nLaura Dern (\u003cem>The Tale\u003c/em>)\u003cbr>\nRegina King (\u003cem>Seven Seconds\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlex Borstein (\u003cem>The Marvelous Mrs. Maisel\u003c/em>)\u003cbr>\nPatricia Clarkson (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPenelope Cruz (\u003cem>The Assassination of Gianni Versace\u003c/em>)\u003cbr>\nThandie Newton (\u003cem>Westworld\u003c/em>)\u003cbr>\nYvonne Strahovski (\u003cem>The Handmaid’s Tale\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlan Arkin\u003cbr>\nKieran Culkin\u003cbr>\nEdgar Ramirez\u003cbr>\nBen Wishaw\u003cbr>\nHenry Winkler\u003c/p>\n\u003cp>\u003cstrong>Best Original Score – Motion Picture\u003c/strong>\u003cbr>\nMarco Beltrami (\u003cem>A Quiet Place\u003c/em>)\u003cbr>\nAlexandre Desplat (\u003cem>Isle of Dogs\u003c/em>)\u003cbr>\nLudwig Göransson (\u003cem>Black Panther\u003c/em>)\u003cbr>\nJustin Hurwitz (\u003cem>First Man\u003c/em>)\u003cbr>\nMarc Shaiman (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Television Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\n\u003cem>The Alienist\u003c/em> (TNT)\u003cbr>\n\u003cem>The Assassination of Gianni Versace: American Crime Story\u003c/em> (FX)\u003cbr>\n\u003cem>Escape at Dannemora\u003c/em> (Showtime)\u003cbr>\n\u003cem>Sharp Objects\u003c/em> (HBO)\u003cbr>\n\u003cem>A Very English Scandal\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Screenplay – Motion Picture\u003c/strong>\u003cbr>\nAlfonso Cuaron (\u003cem>Roma\u003c/em>)\u003cbr>\nDeborah Davis and Tony McNamara (\u003cem>The Favourite\u003c/em>)\u003cbr>\nBarry Jenkins (\u003cem>If Beale Street Could Talk\u003c/em>)\u003cbr>\nAdam McKay (\u003cem>Vice\u003c/em>)\u003cbr>\nPeter Farrelly, Nick Vallelonga, Brian Currie (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nKristen Bell\u003cbr>\nCandice Bergen\u003cbr>\nAlison Brie\u003cbr>\nRachel Brosnahan\u003cbr>\nDebra Messing\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nSasha Baron Cohen (\u003cem>Who Is America?\u003c/em>)\u003cbr>\nJim Carrey (\u003cem>Kidding\u003c/em>)\u003cbr>\nMichael Douglas (\u003cem>The Kominsky Method\u003c/em>)\u003cbr>\nDonald Glover (\u003cem>Atlanta\u003c/em>)\u003cbr>\nBill Hader (\u003cem>Barry\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Animated\u003c/strong>\u003cbr>\n\u003cem>Incredibles 2\u003c/em>\u003cbr>\n\u003cem>Isle of Dogs\u003c/em>\u003cbr>\n\u003cem>Mirai\u003c/em>\u003cbr>\n\u003cem>Ralph Breaks the Internet\u003c/em>\u003cbr>\n\u003cem>Spider-Man: Into the Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Drama\u003c/strong>\u003cbr>\nCaitriona Balfe (\u003cem>Outlander\u003c/em>)\u003cbr>\nElisabeth Moss (\u003cem>Handmaid’s Tale\u003c/em>)\u003cbr>\nSandra Oh (\u003cem>Killing Eve\u003c/em>)\u003cbr>\nJulia Roberts (\u003cem>Homecoming\u003c/em>)\u003cbr>\nKeri Russell (\u003cem>The Americans\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nChristian Bale (\u003cem>Vice\u003c/em>)\u003cbr>\nLin-Manuel Miranda (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\nViggo Mortensen (\u003cem>Green Book\u003c/em>)\u003cbr>\nRobert Redford (\u003cem>The Old Man & the Gun\u003c/em>)\u003cbr>\nJohn C. Reilly (\u003cem>Stan & Ollie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Director – Motion Picture\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nAlfonso Cuaron\u003cbr>\nPeter Farrelly\u003cbr>\nSpike Lee\u003cbr>\nAdam McKay\u003c/p>\n\u003cp>\u003cstrong>Best Television Series – Drama\u003c/strong>\u003cbr>\nThe Americans\u003cbr>\nBodyguard\u003cbr>\nHomecoming\u003cbr>\nKilling Eve\u003cbr>\nPose\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nAmy Adams\u003cbr>\nClaire Foy\u003cbr>\nRegina King\u003cbr>\nEmma Stone\u003cbr>\nRachel Weisz\u003c/p>\n\u003cp>\u003cstrong>Best Original Song – Motion Picture\u003c/strong>\u003cbr>\n“All the Stars” (\u003cem>Black Panther\u003c/em>)\u003cbr>\n“Girl in the Movies” (\u003cem>Dumplin’\u003c/em>)\u003cbr>\n“Requiem For A Private War” (\u003cem>A Private War\u003c/em>)\u003cbr>\n“Revelation’ (\u003cem>Boy Erased\u003c/em>)\u003cbr>\n“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Drama\u003c/strong>\u003cbr>\nJason Bateman\u003cbr>\nStephan James\u003cbr>\nRichard Madden\u003cbr>\nBilly Porter\u003cbr>\nMatthew Rhys\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nMahershala Ali\u003cbr>\nTimothee Chalamet\u003cbr>\nAdam Driver\u003cbr>\nRichard E. Grant\u003cbr>\nSam Rockwell\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Drama\u003c/strong>\u003cbr>\nGlenn Close (\u003cem>The Wife\u003c/em>)\u003cbr>\nLady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nNicole Kidman (\u003cem>Destroyer\u003c/em>)\u003cbr>\nMelissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003cbr>\nRosamund Pike (\u003cem>A Private War\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nEmily Blunt\u003cbr>\nOlivia Colman\u003cbr>\nElsie Fisher\u003cbr>\nCharlize Theron\u003cbr>\nConstance Wu\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Drama\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nWillem Dafoe\u003cbr>\nLucas Hedges\u003cbr>\nRami Malek\u003cbr>\nJohn David Washington\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Crazy Rich Asians\u003c/em>\u003cbr>\n\u003cem>The Favourite\u003c/em>\u003cbr>\n\u003cem>Green Book\u003c/em>\u003cbr>\n\u003cem>Mary Poppins Returns\u003c/em>\u003cbr>\n\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Drama\u003c/strong>\u003cbr>\n\u003cem>Black Panther\u003c/em>\u003cbr>\n\u003cem>BlacKkKlansman\u003c/em>\u003cbr>\n\u003cem>Bohemian Rhapsody\u003c/em>\u003cbr>\n\u003cem>If Beale Street Could Talk\u003c/em>\u003cbr>\n\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\n",
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"description": "It was a banner year for Oakland film, but you wouldn't know it from the Golden Globe nominations, announced this morning. Boots Riley's much-heralded Sorry to Bother You and Daveed Diggs and Rafael Casal's incisive Blindspotting are nowhere to be found on the list. Black Panther, the smash box-office hit with scenes set but not",
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"headline": "'Sorry to Bother You,' 'Blindspotting' Shut Out of Golden Globe Nominations",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a \u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-ae-blindspotting-writers-0715-story.html\" rel=\"noopener\" target=\"_blank\">banner year\u003c/a> for Oakland film, but you wouldn’t know it from the Golden Globe nominations, announced this morning. \u003c/p>\n\u003cp>Boots Riley’s much-heralded \u003cem>Sorry to Bother You\u003c/em> and Daveed Diggs and Rafael Casal’s incisive \u003cem>Blindspotting\u003c/em> are nowhere to be found on the list. \u003cem>Black Panther\u003c/em>, the smash box-office hit with scenes set but \u003ca href=\"https://www.chicagotribune.com/lifestyles/travel/ct-black-panther-atlanta-20180321-story.html\" rel=\"noopener\" target=\"_blank\">not actually filmed in Oakland\u003c/a>, is up for three awards, including Best Motion Picture: Drama. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s probably not surprising that \u003cem>Sorry To Bother You\u003c/em> was just a little too weird, or politically radical, to make the list. But to see five nominations for \u003cem>Green Book\u003c/em>, a \u003ca href=\"https://themuse.jezebel.com/green-book-is-another-film-about-race-for-white-people-1830460623\" rel=\"noopener\" target=\"_blank\">let’s-solve-racism movie\u003c/a> directed by the \u003cem>There’s Something About Mary\u003c/em> guy and repeatedly \u003ca href=\"https://www.vox.com/2018/11/16/18069756/green-book-review-racism-schomburg-segregation\" rel=\"noopener\" target=\"_blank\">criticized\u003c/a> for its \u003ca href=\"https://www.theguardian.com/film/2018/dec/03/peter-farrelly-green-book-mahershala-ali-viggo-mortensen\" rel=\"noopener\" target=\"_blank\">white perspective\u003c/a>, is to start wading into \u003cem>Crash\u003c/em> territory.\u003c/p>\n\u003cp>The complete list of nominations is below. And, after you’re done puzzling over the Dick Cheney biopic \u003cem>Vice\u003c/em> in the “Musical or Comedy” category (War crimes! Hilarious!) while the full-of-songs Freddie Mercury biopic \u003cem>Bohemian Rhapsody\u003c/em> lands over in “Drama,” watch \u003cem>Sorry to Bother You\u003c/em> and \u003cem>Blindspotting\u003c/em> if you haven’t already, and be proud of Oakland’s incredible talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Golden Globes air on Jan. 6, 2019, with Sandra Oh and Andy Samberg as hosts.\u003c/p>\n\u003ch2>Complete 76th Golden Globes Nominations\u003c/h2>\n\u003cp>\u003cstrong>Best Television Series – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Barry\u003c/em> (HBO)\u003cbr>\n\u003cem>The Good Place\u003c/em> (NBC)\u003cbr>\n\u003cem>Kidding\u003c/em> (Showtime)\u003cbr>\n\u003cem>The Kominsky Method\u003c/em> (Netflix)\u003cbr>\n\u003cem>The Marvelous Mrs. Maisel\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Foreign Language\u003c/strong>\u003cbr>\n\u003cem>Capernaum\u003c/em>\u003cbr>\n\u003cem>Girl\u003c/em>\u003cbr>\n\u003cem>Never Look Away\u003c/em>\u003cbr>\n\u003cem>Roma\u003c/em>\u003cbr>\n\u003cem>Shoplifters\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAntonia Banderas\u003cbr>\nDaniel Brul\u003cbr>\nDarren Criss\u003cbr>\nBenedict Cumberbatch\u003cbr>\nHugh Grant\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAmy Adams (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPatricia Arquette (\u003cem>Escape at Dannemora\u003c/em>)\u003cbr>\nConnie Britton (\u003cem>Dirty John\u003c/em>)\u003cbr>\nLaura Dern (\u003cem>The Tale\u003c/em>)\u003cbr>\nRegina King (\u003cem>Seven Seconds\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlex Borstein (\u003cem>The Marvelous Mrs. Maisel\u003c/em>)\u003cbr>\nPatricia Clarkson (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPenelope Cruz (\u003cem>The Assassination of Gianni Versace\u003c/em>)\u003cbr>\nThandie Newton (\u003cem>Westworld\u003c/em>)\u003cbr>\nYvonne Strahovski (\u003cem>The Handmaid’s Tale\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlan Arkin\u003cbr>\nKieran Culkin\u003cbr>\nEdgar Ramirez\u003cbr>\nBen Wishaw\u003cbr>\nHenry Winkler\u003c/p>\n\u003cp>\u003cstrong>Best Original Score – Motion Picture\u003c/strong>\u003cbr>\nMarco Beltrami (\u003cem>A Quiet Place\u003c/em>)\u003cbr>\nAlexandre Desplat (\u003cem>Isle of Dogs\u003c/em>)\u003cbr>\nLudwig Göransson (\u003cem>Black Panther\u003c/em>)\u003cbr>\nJustin Hurwitz (\u003cem>First Man\u003c/em>)\u003cbr>\nMarc Shaiman (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Television Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\n\u003cem>The Alienist\u003c/em> (TNT)\u003cbr>\n\u003cem>The Assassination of Gianni Versace: American Crime Story\u003c/em> (FX)\u003cbr>\n\u003cem>Escape at Dannemora\u003c/em> (Showtime)\u003cbr>\n\u003cem>Sharp Objects\u003c/em> (HBO)\u003cbr>\n\u003cem>A Very English Scandal\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Screenplay – Motion Picture\u003c/strong>\u003cbr>\nAlfonso Cuaron (\u003cem>Roma\u003c/em>)\u003cbr>\nDeborah Davis and Tony McNamara (\u003cem>The Favourite\u003c/em>)\u003cbr>\nBarry Jenkins (\u003cem>If Beale Street Could Talk\u003c/em>)\u003cbr>\nAdam McKay (\u003cem>Vice\u003c/em>)\u003cbr>\nPeter Farrelly, Nick Vallelonga, Brian Currie (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nKristen Bell\u003cbr>\nCandice Bergen\u003cbr>\nAlison Brie\u003cbr>\nRachel Brosnahan\u003cbr>\nDebra Messing\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nSasha Baron Cohen (\u003cem>Who Is America?\u003c/em>)\u003cbr>\nJim Carrey (\u003cem>Kidding\u003c/em>)\u003cbr>\nMichael Douglas (\u003cem>The Kominsky Method\u003c/em>)\u003cbr>\nDonald Glover (\u003cem>Atlanta\u003c/em>)\u003cbr>\nBill Hader (\u003cem>Barry\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Animated\u003c/strong>\u003cbr>\n\u003cem>Incredibles 2\u003c/em>\u003cbr>\n\u003cem>Isle of Dogs\u003c/em>\u003cbr>\n\u003cem>Mirai\u003c/em>\u003cbr>\n\u003cem>Ralph Breaks the Internet\u003c/em>\u003cbr>\n\u003cem>Spider-Man: Into the Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Drama\u003c/strong>\u003cbr>\nCaitriona Balfe (\u003cem>Outlander\u003c/em>)\u003cbr>\nElisabeth Moss (\u003cem>Handmaid’s Tale\u003c/em>)\u003cbr>\nSandra Oh (\u003cem>Killing Eve\u003c/em>)\u003cbr>\nJulia Roberts (\u003cem>Homecoming\u003c/em>)\u003cbr>\nKeri Russell (\u003cem>The Americans\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nChristian Bale (\u003cem>Vice\u003c/em>)\u003cbr>\nLin-Manuel Miranda (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\nViggo Mortensen (\u003cem>Green Book\u003c/em>)\u003cbr>\nRobert Redford (\u003cem>The Old Man & the Gun\u003c/em>)\u003cbr>\nJohn C. Reilly (\u003cem>Stan & Ollie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Director – Motion Picture\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nAlfonso Cuaron\u003cbr>\nPeter Farrelly\u003cbr>\nSpike Lee\u003cbr>\nAdam McKay\u003c/p>\n\u003cp>\u003cstrong>Best Television Series – Drama\u003c/strong>\u003cbr>\nThe Americans\u003cbr>\nBodyguard\u003cbr>\nHomecoming\u003cbr>\nKilling Eve\u003cbr>\nPose\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nAmy Adams\u003cbr>\nClaire Foy\u003cbr>\nRegina King\u003cbr>\nEmma Stone\u003cbr>\nRachel Weisz\u003c/p>\n\u003cp>\u003cstrong>Best Original Song – Motion Picture\u003c/strong>\u003cbr>\n“All the Stars” (\u003cem>Black Panther\u003c/em>)\u003cbr>\n“Girl in the Movies” (\u003cem>Dumplin’\u003c/em>)\u003cbr>\n“Requiem For A Private War” (\u003cem>A Private War\u003c/em>)\u003cbr>\n“Revelation’ (\u003cem>Boy Erased\u003c/em>)\u003cbr>\n“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Drama\u003c/strong>\u003cbr>\nJason Bateman\u003cbr>\nStephan James\u003cbr>\nRichard Madden\u003cbr>\nBilly Porter\u003cbr>\nMatthew Rhys\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nMahershala Ali\u003cbr>\nTimothee Chalamet\u003cbr>\nAdam Driver\u003cbr>\nRichard E. Grant\u003cbr>\nSam Rockwell\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Drama\u003c/strong>\u003cbr>\nGlenn Close (\u003cem>The Wife\u003c/em>)\u003cbr>\nLady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nNicole Kidman (\u003cem>Destroyer\u003c/em>)\u003cbr>\nMelissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003cbr>\nRosamund Pike (\u003cem>A Private War\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nEmily Blunt\u003cbr>\nOlivia Colman\u003cbr>\nElsie Fisher\u003cbr>\nCharlize Theron\u003cbr>\nConstance Wu\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Drama\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nWillem Dafoe\u003cbr>\nLucas Hedges\u003cbr>\nRami Malek\u003cbr>\nJohn David Washington\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Crazy Rich Asians\u003c/em>\u003cbr>\n\u003cem>The Favourite\u003c/em>\u003cbr>\n\u003cem>Green Book\u003c/em>\u003cbr>\n\u003cem>Mary Poppins Returns\u003c/em>\u003cbr>\n\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Drama\u003c/strong>\u003cbr>\n\u003cem>Black Panther\u003c/em>\u003cbr>\n\u003cem>BlacKkKlansman\u003c/em>\u003cbr>\n\u003cem>Bohemian Rhapsody\u003c/em>\u003cbr>\n\u003cem>If Beale Street Could Talk\u003c/em>\u003cbr>\n\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-royal-hue-living-coral-crowned-color-of-the-year-for-2019",
"title": "A Royal Hue: 'Living Coral' Crowned Color Of The Year For 2019",
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"headTitle": "A Royal Hue: ‘Living Coral’ Crowned Color Of The Year For 2019 | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 5:56 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>As December draws its darkest hours ever longer, inching moment by moment toward the shortest day of the year — in the northern hemisphere, at least — the Pantone Color Institute is striking a defiant tone. The global experts in hue have crowned “living coral” as their annual color of the year for 2019.\u003c/p>\n\u003cp>You can also call it by its official Pantone code, 16-1546 — though admittedly that doesn’t have quite the same ring to it. It would also miss the point, in a way, since the institute selected the color for its “vibrant, yet mellow” life-affirming qualities — both our physical lives and those we lead online.\u003c/p>\n\u003cp>[contextly_sidebar id=”G84nWDenJxBif9UgAloJBocIkj80MIvp”]\u003c/p>\n\u003cp>“Representing the fusion of modern life, PANTONE Living Coral is a nurturing color that appears in our natural surroundings and at the same time, displays a lively presence within social media,” the institute \u003ca href=\"https://www.pantone.com/color-intelligence/color-of-the-year/color-of-the-year-2019\">explained in a release\u003c/a> Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/PantoneColor/videos/272055183660346/\">http://www.facebook.com/PantoneColor/videos/272055183660346/\u003c/a>\u003c/p>\n\u003cp>Since naming cerulean blue the color of 2000, the Pantone Color Institute has been passing the crown to a new shade each year, basing its choice on trends observed in a wide variety of areas — including “entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations …”\u003c/p>\n\u003cp>The list goes on.\u003c/p>\n\u003cp>Living coral is receiving the baton from a cousin on the color wheel, ultra violet — which, as NPR’s Camila Domonoske \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/07/569153010/purple-is-the-color-of-the-year-for-2018\">pointed out last year\u003c/a>, is not to be confused with invisible ultraviolet (note the lack of a space!) light. That deep purple \u003ca href=\"https://www.pantone.com/color-of-the-year-2018\">earned the laurels\u003c/a> for its “originality, ingenuity, and visionary thinking that points us towards the future.”\u003c/p>\n\u003cfigure id=\"attachment_13846490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846490 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg\" alt=\"Here's how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as "vibrant, yet mellow."\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1920x1437.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Here’s how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as “vibrant, yet mellow.” \u003ccite>(Pantone Color Institute via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for living coral, the future may present a more complicated prospect.\u003c/p>\n\u003cp>When it comes to most headlines these days, the word “coral” doesn’t often get the opportunity to be paired with “living.” It’s “dying” that gets that distinction more often than not, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/25/580227045/plastic-pollution-is-killing-coral-reefs-4-year-study-finds\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/18/602995137/climate-change-is-killing-coral-on-the-great-barrier-reef\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/05/14/477963623/new-photos-show-the-rapid-pace-of-great-barrier-reef-bleaching\">report \u003c/a>after \u003ca href=\"https://www.npr.org/2018/05/15/611258056/battered-by-bleaching-floridas-coral-reefs-now-face-mysterious-disease\">report \u003c/a>— \u003ca href=\"https://www.npr.org/tags/450307054/coral-reefs\">and so on\u003c/a> — reveal the alarming extent to which human actions have played a role in bleaching and killing coral reefs around the world.\u003c/p>\n\u003cp>[contextly_sidebar id=”CiVPhu0l0khw9MXrDdOSccDrLnfDJ2LL”]\u003c/p>\n\u003cp>In this respect, a dark irony lurks in the fact that Pantone announced its honors for living coral on the same day climate scientists revealed that \u003ca href=\"https://www.npr.org/2018/12/05/673821051/carbon-dioxide-emissions-are-up-again-what-now-climate\">global carbon emissions are climbing\u003c/a>, despite many countries’ \u003ca href=\"https://www.npr.org/2018/12/03/671243911/high-stakes-as-international-climate-conference-begins\">ambitious pledges\u003c/a> to rein them in.\u003c/p>\n\u003cp>Pantone says it selected living coral partly as a way to remind people of “the desired, familiar, and energizing aspects of color found in nature.”\u003c/p>\n\u003cp>“In its glorious, yet unfortunately more elusive, display beneath the sea, this vivifying and effervescent color mesmerizes the eye and mind,” the institute says. “Lying at the center of our naturally vivid and chromatic ecosystem, PANTONE Living Coral is evocative of how coral reefs provide shelter to a diverse kaleidoscope of color.”\u003c/p>\n\u003cp>[contextly_sidebar id=”pCnQftFUubgoDGDmLY7yLnokdizyQaNh”]\u003c/p>\n\u003cp>And that kaleidoscope is to be found not just in the natural world but on our devices, making the color a perfect bridge for the modern world’s complex dimensions, according to Pantone Executive Director \u003ca href=\"http://leatriceeiseman.com/\">Leatrice Eiseman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Color is an equalizing lens through which we experience our natural and digital realities, and this is particularly true for Living Coral,” she said in a statement Wednesday. “With consumers craving human interaction and social connection, the humanizing and heartening qualities displayed by the convivial PANTONE Living Coral hit a responsive chord.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=A+Royal+Hue%3A+%27Living+Coral%27+Crowned+Color+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Pantone chose the \"vibrant, yet mellow\" shade for its ability to bridge the natural and digital worlds. The pick comes at a poignant time, given the existential threats the color's namesake now faces.",
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"title": "A Royal Hue: 'Living Coral' Crowned Color Of The Year For 2019 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 5:56 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>As December draws its darkest hours ever longer, inching moment by moment toward the shortest day of the year — in the northern hemisphere, at least — the Pantone Color Institute is striking a defiant tone. The global experts in hue have crowned “living coral” as their annual color of the year for 2019.\u003c/p>\n\u003cp>You can also call it by its official Pantone code, 16-1546 — though admittedly that doesn’t have quite the same ring to it. It would also miss the point, in a way, since the institute selected the color for its “vibrant, yet mellow” life-affirming qualities — both our physical lives and those we lead online.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Representing the fusion of modern life, PANTONE Living Coral is a nurturing color that appears in our natural surroundings and at the same time, displays a lively presence within social media,” the institute \u003ca href=\"https://www.pantone.com/color-intelligence/color-of-the-year/color-of-the-year-2019\">explained in a release\u003c/a> Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/PantoneColor/videos/272055183660346/\">http://www.facebook.com/PantoneColor/videos/272055183660346/\u003c/a>\u003c/p>\n\u003cp>Since naming cerulean blue the color of 2000, the Pantone Color Institute has been passing the crown to a new shade each year, basing its choice on trends observed in a wide variety of areas — including “entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations …”\u003c/p>\n\u003cp>The list goes on.\u003c/p>\n\u003cp>Living coral is receiving the baton from a cousin on the color wheel, ultra violet — which, as NPR’s Camila Domonoske \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/07/569153010/purple-is-the-color-of-the-year-for-2018\">pointed out last year\u003c/a>, is not to be confused with invisible ultraviolet (note the lack of a space!) light. That deep purple \u003ca href=\"https://www.pantone.com/color-of-the-year-2018\">earned the laurels\u003c/a> for its “originality, ingenuity, and visionary thinking that points us towards the future.”\u003c/p>\n\u003cfigure id=\"attachment_13846490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846490 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg\" alt=\"Here's how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as "vibrant, yet mellow."\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1920x1437.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Here’s how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as “vibrant, yet mellow.” \u003ccite>(Pantone Color Institute via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for living coral, the future may present a more complicated prospect.\u003c/p>\n\u003cp>When it comes to most headlines these days, the word “coral” doesn’t often get the opportunity to be paired with “living.” It’s “dying” that gets that distinction more often than not, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/25/580227045/plastic-pollution-is-killing-coral-reefs-4-year-study-finds\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/18/602995137/climate-change-is-killing-coral-on-the-great-barrier-reef\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/05/14/477963623/new-photos-show-the-rapid-pace-of-great-barrier-reef-bleaching\">report \u003c/a>after \u003ca href=\"https://www.npr.org/2018/05/15/611258056/battered-by-bleaching-floridas-coral-reefs-now-face-mysterious-disease\">report \u003c/a>— \u003ca href=\"https://www.npr.org/tags/450307054/coral-reefs\">and so on\u003c/a> — reveal the alarming extent to which human actions have played a role in bleaching and killing coral reefs around the world.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In this respect, a dark irony lurks in the fact that Pantone announced its honors for living coral on the same day climate scientists revealed that \u003ca href=\"https://www.npr.org/2018/12/05/673821051/carbon-dioxide-emissions-are-up-again-what-now-climate\">global carbon emissions are climbing\u003c/a>, despite many countries’ \u003ca href=\"https://www.npr.org/2018/12/03/671243911/high-stakes-as-international-climate-conference-begins\">ambitious pledges\u003c/a> to rein them in.\u003c/p>\n\u003cp>Pantone says it selected living coral partly as a way to remind people of “the desired, familiar, and energizing aspects of color found in nature.”\u003c/p>\n\u003cp>“In its glorious, yet unfortunately more elusive, display beneath the sea, this vivifying and effervescent color mesmerizes the eye and mind,” the institute says. “Lying at the center of our naturally vivid and chromatic ecosystem, PANTONE Living Coral is evocative of how coral reefs provide shelter to a diverse kaleidoscope of color.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And that kaleidoscope is to be found not just in the natural world but on our devices, making the color a perfect bridge for the modern world’s complex dimensions, according to Pantone Executive Director \u003ca href=\"http://leatriceeiseman.com/\">Leatrice Eiseman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Color is an equalizing lens through which we experience our natural and digital realities, and this is particularly true for Living Coral,” she said in a statement Wednesday. “With consumers craving human interaction and social connection, the humanizing and heartening qualities displayed by the convivial PANTONE Living Coral hit a responsive chord.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=A+Royal+Hue%3A+%27Living+Coral%27+Crowned+Color+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Esa-Pekka Salonen Appointed Music Director at SF Symphony",
"headTitle": "Esa-Pekka Salonen Appointed Music Director at SF Symphony | KQED",
"content": "\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> announced the appointment of Esa-Pekka Salonen as its new music director on Wednesday.\u003c/p>\n\u003cp>The lauded, 60-year-old Finnish conductor and composer previously served as the music director of the Los Angeles Philharmonic. He quit in 2009 to focus on composing and a less demanding conducting position with the Philharmonia Orchestra in London, where he will conclude his tenure in 2021.\u003c/p>\n\u003cp>In an interview with KQED at Davies Symphony Hall an hour after signing his new five-year contract, Salonen said the timing of the offer couldn’t have been better.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I had got to a point in my life professionally where I felt that I could take on one more big thing,” Salonen said. “And I had in any case decided to step down in London in the near future. When the conversation with the San Francisco Symphony started last August, I thought the timing is perfect. The organization is perfect. The city is perfect. Everything makes sense.”\u003c/p>\n\u003cp>When he ceded the directorship of the Los Angeles Philharmonic to Venezuelan conductor Gustavo Dudamel, Salonen indicated he had no interest in another year-round music director job, so his appointment in San Francisco comes as a surprise to many.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is surprising in a very amazing and beautiful way,” said Jessica Bejarano, the director and conductor of the San Francisco Civic Symphony. “As far as I understood it, he retired from the L.A. Phil to focus on composition. I never thought he would return back to the podium as director. Great things are on the horizon for us.”\u003c/p>\n\u003cp>“Oh, really!” exclaimed Chris Lorway, executive director of Stanford Live, the arts presenter at Stanford. He then chuckled, “That’s exciting news.”\u003c/p>\n\u003cp>Lorway said Stanford Live, Cal Performances and the Salonen-led Philharmonia Orchestra collaborated on \u003ca href=\"https://live.stanford.edu/calendar/march-2019/philharmonia-orchestra-london\" target=\"_blank\" rel=\"noopener\">\u003cem>Dreamers\u003c/em>\u003c/a>, a project focused on young, undocumented immigrants. The piece debuts next March at UC Berkeley and Stanford.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> described Salonen as a tech-forward conductor, referring to him as a “disruptor.” Indeed, he worked with the London Philharmonia Orchestra on an app, virtual reality projects and immersive installations. The \u003cem>Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/12/05/arts/music/san-francisco-symphony-esa-pekka-salonen.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that one of the first meetings Salonen took in preparation for his new position was with roboticist Carol Reiley, whom he invited to serve as a collaborative partner for the symphony.\u003c/p>\n\u003cp>Yet Salonen’s appointment comes at a time when many corners of the arts community are chafing against the hiring of non-diverse leaders at major cultural institutions around the United States. A recent local example is the appointment of Thomas Campbell at the Fine Arts Museums of San Francisco. Campbell is an older, white man. So is Salonen.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Lorway said the issue of diversity in the classical music world is an age-old question and a major challenge. “It’s an issue which has to be grappled with it systemically,” Lorway said. “And I don’t know how you seed the pipeline in a way that results in changes the immediate future.”\u003c/p>\n\u003cp>“Who would the diverse choice be?” said Michael Morgan, the music director and conductor of the Oakland Symphony, and one of a small number of black conductors leading symphony orchestras in this country today.\u003c/p>\n\u003cp>Morgan applauded the San Francisco Symphony for its choice. “It’s kind of ideal for a major orchestra right now \u003cb>\u003c/b>to have someone who’s an actual adult but has a youthful energy and spirit,” Morgan said. “This is a big thing with me: hiring conductors that are not too young, because it just takes so long to get to be any good at this.”\u003c/p>\n\u003cp>Morgan sees maturity as a more important consideration than ethnic background when it comes to the hiring of music directors.\u003c/p>\n\u003cp>“You don’t necessarily have to have diversity in the music director if you program with a diversity of approaches and outlooks in mind,” Morgan said. “The real test will be to see who shows up as guest conductors and composers and soloists at the San Francisco Symphony in the coming years.”\u003c/p>\n\u003cp>Lorway said he sees young conductors of diverse backgrounds starting to take up positions in orchestras around the world. “But I think for some of the major orchestras, especially in this country, I can see where there might be an inclination to go with the safer choice in some of these situations\u003ci>.\u003c/i>”\u003c/p>\n\u003cp>Bejarano said it would have been amazing to see a woman such as Finnish conductor Susanna Malkki get the job. But she said Salonen is a “legend” and the right choice for San Francisco right now.\u003c/p>\n\u003cp>She takes the long view when it comes to diversifying orchestra leadership. “It doesn’t mean that this is going to be the standard for the rest of of history,” Bejarano said. “Minority conductors have to continue to push forward and never ever give up. Change in this situation is slow and gradual, and we just have to patient with the process. But it will change.”\u003c/p>\n\u003cp>Salonen himself acknowledges the challenges.\u003c/p>\n\u003cp>“I’m fully aware of the fact that I’m an old, white guy who deals with an art form that has deep European roots and is essentially something that was imported to this country 150 years ago,” said Salonen. “So I’m fully invested in trying to widen the horizon of this organization, not only in terms of reaching out to segments of the audience that that haven’t been coming to the concerts frequently, but also trying to develop the actual artistic content of the orchestra and the institution in such a way that the community would feel that the orchestra is doing something more relevant in their lives.”\u003c/p>\n\u003cp>Salonen and the San Francisco Symphony are bringing in eight collaborative partners from a variety of cultural disciplines to help address outreach and diversity in the organization’s programming. The group includes pianist, film producer, and composer Nicholas Britell; singer Julia Bullock, flutist and educator Claire Chase, composer and guitarist for the rock band The National Bryce Dessner, Finnish violinist Pekka Kuusisto, composer Nico Muhly, tech entrepreneur and scientist Carol Reiley, and bassist and vocalist Esperanza Spalding.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I have this team of young artists who will be helping me not only in shaping the programs and the content of the symphony, but also to help me in finding ways to connect with the community,” Salonen said.\u003c/p>\n\u003cp>Current music director Michael Tilson Thomas will hand over the baton to Salonen in September 2020, when he will begin an initial five-year contract. Starting immediately, Salonen steps in as music director designate, leading the orchestra in a January 2019 program that includes Icelandic composer Anna Thorvaldsdottir’s \u003cem>Metacosmos\u003c/em>, R. Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> and Sibelius’ \u003cem>Four Legends from the Kalevala\u003c/em>.\u003c/p>\n\u003cp>In 2020, Salonen will conduct the San Francisco Symphony for six subscription weeks and a tour of Asia. Starting in 2021, he will lead the orchestra for 12–14 weeks each season.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> announced the appointment of Esa-Pekka Salonen as its new music director on Wednesday.\u003c/p>\n\u003cp>The lauded, 60-year-old Finnish conductor and composer previously served as the music director of the Los Angeles Philharmonic. He quit in 2009 to focus on composing and a less demanding conducting position with the Philharmonia Orchestra in London, where he will conclude his tenure in 2021.\u003c/p>\n\u003cp>In an interview with KQED at Davies Symphony Hall an hour after signing his new five-year contract, Salonen said the timing of the offer couldn’t have been better.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I had got to a point in my life professionally where I felt that I could take on one more big thing,” Salonen said. “And I had in any case decided to step down in London in the near future. When the conversation with the San Francisco Symphony started last August, I thought the timing is perfect. The organization is perfect. The city is perfect. Everything makes sense.”\u003c/p>\n\u003cp>When he ceded the directorship of the Los Angeles Philharmonic to Venezuelan conductor Gustavo Dudamel, Salonen indicated he had no interest in another year-round music director job, so his appointment in San Francisco comes as a surprise to many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is surprising in a very amazing and beautiful way,” said Jessica Bejarano, the director and conductor of the San Francisco Civic Symphony. “As far as I understood it, he retired from the L.A. Phil to focus on composition. I never thought he would return back to the podium as director. Great things are on the horizon for us.”\u003c/p>\n\u003cp>“Oh, really!” exclaimed Chris Lorway, executive director of Stanford Live, the arts presenter at Stanford. He then chuckled, “That’s exciting news.”\u003c/p>\n\u003cp>Lorway said Stanford Live, Cal Performances and the Salonen-led Philharmonia Orchestra collaborated on \u003ca href=\"https://live.stanford.edu/calendar/march-2019/philharmonia-orchestra-london\" target=\"_blank\" rel=\"noopener\">\u003cem>Dreamers\u003c/em>\u003c/a>, a project focused on young, undocumented immigrants. The piece debuts next March at UC Berkeley and Stanford.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> described Salonen as a tech-forward conductor, referring to him as a “disruptor.” Indeed, he worked with the London Philharmonia Orchestra on an app, virtual reality projects and immersive installations. The \u003cem>Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/12/05/arts/music/san-francisco-symphony-esa-pekka-salonen.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that one of the first meetings Salonen took in preparation for his new position was with roboticist Carol Reiley, whom he invited to serve as a collaborative partner for the symphony.\u003c/p>\n\u003cp>Yet Salonen’s appointment comes at a time when many corners of the arts community are chafing against the hiring of non-diverse leaders at major cultural institutions around the United States. A recent local example is the appointment of Thomas Campbell at the Fine Arts Museums of San Francisco. Campbell is an older, white man. So is Salonen.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Lorway said the issue of diversity in the classical music world is an age-old question and a major challenge. “It’s an issue which has to be grappled with it systemically,” Lorway said. “And I don’t know how you seed the pipeline in a way that results in changes the immediate future.”\u003c/p>\n\u003cp>“Who would the diverse choice be?” said Michael Morgan, the music director and conductor of the Oakland Symphony, and one of a small number of black conductors leading symphony orchestras in this country today.\u003c/p>\n\u003cp>Morgan applauded the San Francisco Symphony for its choice. “It’s kind of ideal for a major orchestra right now \u003cb>\u003c/b>to have someone who’s an actual adult but has a youthful energy and spirit,” Morgan said. “This is a big thing with me: hiring conductors that are not too young, because it just takes so long to get to be any good at this.”\u003c/p>\n\u003cp>Morgan sees maturity as a more important consideration than ethnic background when it comes to the hiring of music directors.\u003c/p>\n\u003cp>“You don’t necessarily have to have diversity in the music director if you program with a diversity of approaches and outlooks in mind,” Morgan said. “The real test will be to see who shows up as guest conductors and composers and soloists at the San Francisco Symphony in the coming years.”\u003c/p>\n\u003cp>Lorway said he sees young conductors of diverse backgrounds starting to take up positions in orchestras around the world. “But I think for some of the major orchestras, especially in this country, I can see where there might be an inclination to go with the safer choice in some of these situations\u003ci>.\u003c/i>”\u003c/p>\n\u003cp>Bejarano said it would have been amazing to see a woman such as Finnish conductor Susanna Malkki get the job. But she said Salonen is a “legend” and the right choice for San Francisco right now.\u003c/p>\n\u003cp>She takes the long view when it comes to diversifying orchestra leadership. “It doesn’t mean that this is going to be the standard for the rest of of history,” Bejarano said. “Minority conductors have to continue to push forward and never ever give up. Change in this situation is slow and gradual, and we just have to patient with the process. But it will change.”\u003c/p>\n\u003cp>Salonen himself acknowledges the challenges.\u003c/p>\n\u003cp>“I’m fully aware of the fact that I’m an old, white guy who deals with an art form that has deep European roots and is essentially something that was imported to this country 150 years ago,” said Salonen. “So I’m fully invested in trying to widen the horizon of this organization, not only in terms of reaching out to segments of the audience that that haven’t been coming to the concerts frequently, but also trying to develop the actual artistic content of the orchestra and the institution in such a way that the community would feel that the orchestra is doing something more relevant in their lives.”\u003c/p>\n\u003cp>Salonen and the San Francisco Symphony are bringing in eight collaborative partners from a variety of cultural disciplines to help address outreach and diversity in the organization’s programming. The group includes pianist, film producer, and composer Nicholas Britell; singer Julia Bullock, flutist and educator Claire Chase, composer and guitarist for the rock band The National Bryce Dessner, Finnish violinist Pekka Kuusisto, composer Nico Muhly, tech entrepreneur and scientist Carol Reiley, and bassist and vocalist Esperanza Spalding.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I have this team of young artists who will be helping me not only in shaping the programs and the content of the symphony, but also to help me in finding ways to connect with the community,” Salonen said.\u003c/p>\n\u003cp>Current music director Michael Tilson Thomas will hand over the baton to Salonen in September 2020, when he will begin an initial five-year contract. Starting immediately, Salonen steps in as music director designate, leading the orchestra in a January 2019 program that includes Icelandic composer Anna Thorvaldsdottir’s \u003cem>Metacosmos\u003c/em>, R. Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> and Sibelius’ \u003cem>Four Legends from the Kalevala\u003c/em>.\u003c/p>\n\u003cp>In 2020, Salonen will conduct the San Francisco Symphony for six subscription weeks and a tour of Asia. Starting in 2021, he will lead the orchestra for 12–14 weeks each season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The William and Flora Hewlett Foundation announced the latest awardees of its Hewlett 50 Arts Commissions on Wednesday, granting a total of $1.5 million to 10 Bay Area nonprofits supporting new theater, musical theater and spoken word productions. \u003c/p>\n\u003cp>The awardees, selected by a panel of outside experts and Hewlett staff, are local organizations large and small, including Yerba Buena Center for the Arts, the Center for Asian American Media, Destiny Arts Center and California Shakespeare Theater. Each organization will receive $150,000 for a specific project. \u003c/p>\n\u003cp>The five-year, $8 million initiative, launched last year to mark the Menlo Park private foundation’s fiftieth anniversary, aims to “sustain artistic expression and encourage public engagement with the arts,” according to a press release. Each year focuses on a different performing arts discipline (last year’s was music), with the nonprofit awardees sponsoring major new works by individual artists. So far, most of the grantees have shown strong social-justice components. \u003c/p>\n\u003cp>Sponsored works this year include \u003cem>The Black Whole\u003c/em>, a multidisciplinary theater production and public ritual that creator Marc Bamuthi Joseph intends as an elegy for Oakland youth killed before the age of 30; \u003cem>The Limp\u003c/em>, a hip hop-driven narrative performance piece addressing toxic masculinity by \u003cem>Blindspotting\u003c/em> cocreator Rafael Casal; and \u003cem>J-town, Chinatown, Our Town\u003c/em>, a multidisciplinary theater work inspired by playwright Brenda Wong Aoki and her family’s generations-spanning history in San Francisco. \u003c/p>\n\u003cp>“This project is a transmission of experiential wisdom and love—for family, for homeland drawn from decades of living and working in the city,” Aoki said in a statement. “At its core, this is a love letter to San Francisco.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Visit Hewlett’s \u003ca href=\"https://hewlett.org/programs/sf-bay-area/\">website\u003c/a> for a full list of the awardees. \u003c/p>\n\u003cp>One of the nation’s wealthiest grant-makers, the Hewlett Foundation has awarded more than $350 million to arts organizations since 1967. Other recent examples of its giving locally include \u003ca href=\"https://www.kqed.org/arts/13830550/north-bay-arts-orgs-receive-1-2-million-from-hewlett-foundation\">grants\u003c/a> for North Bay arts organizations affected by wildfires. (The Foundation also supplies funding for KQED Arts.)\u003c/p>\n\u003cp>Hewlett touts the arts commissions program as the largest of its kind in the United States. \u003c/p>\n\u003cp>“The San Francisco Bay Area has long been home to one of the nation’s great art scenes, and many of the world’s most innovative artists,” Hewlett Foundation president Larry Kramer said in a statement. “We hope this program plays a role in sustaining and continuing that rich tradition.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Future years of the Hewlett 50 Arts Commissions will focus on dance, traditional arts and film, according to the press release. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The William and Flora Hewlett Foundation announced the latest awardees of its Hewlett 50 Arts Commissions on Wednesday, granting a total of $1.5 million to 10 Bay Area nonprofits supporting new theater, musical theater and spoken word productions. \u003c/p>\n\u003cp>The awardees, selected by a panel of outside experts and Hewlett staff, are local organizations large and small, including Yerba Buena Center for the Arts, the Center for Asian American Media, Destiny Arts Center and California Shakespeare Theater. Each organization will receive $150,000 for a specific project. \u003c/p>\n\u003cp>The five-year, $8 million initiative, launched last year to mark the Menlo Park private foundation’s fiftieth anniversary, aims to “sustain artistic expression and encourage public engagement with the arts,” according to a press release. Each year focuses on a different performing arts discipline (last year’s was music), with the nonprofit awardees sponsoring major new works by individual artists. So far, most of the grantees have shown strong social-justice components. \u003c/p>\n\u003cp>Sponsored works this year include \u003cem>The Black Whole\u003c/em>, a multidisciplinary theater production and public ritual that creator Marc Bamuthi Joseph intends as an elegy for Oakland youth killed before the age of 30; \u003cem>The Limp\u003c/em>, a hip hop-driven narrative performance piece addressing toxic masculinity by \u003cem>Blindspotting\u003c/em> cocreator Rafael Casal; and \u003cem>J-town, Chinatown, Our Town\u003c/em>, a multidisciplinary theater work inspired by playwright Brenda Wong Aoki and her family’s generations-spanning history in San Francisco. \u003c/p>\n\u003cp>“This project is a transmission of experiential wisdom and love—for family, for homeland drawn from decades of living and working in the city,” Aoki said in a statement. “At its core, this is a love letter to San Francisco.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Visit Hewlett’s \u003ca href=\"https://hewlett.org/programs/sf-bay-area/\">website\u003c/a> for a full list of the awardees. \u003c/p>\n\u003cp>One of the nation’s wealthiest grant-makers, the Hewlett Foundation has awarded more than $350 million to arts organizations since 1967. Other recent examples of its giving locally include \u003ca href=\"https://www.kqed.org/arts/13830550/north-bay-arts-orgs-receive-1-2-million-from-hewlett-foundation\">grants\u003c/a> for North Bay arts organizations affected by wildfires. (The Foundation also supplies funding for KQED Arts.)\u003c/p>\n\u003cp>Hewlett touts the arts commissions program as the largest of its kind in the United States. \u003c/p>\n\u003cp>“The San Francisco Bay Area has long been home to one of the nation’s great art scenes, and many of the world’s most innovative artists,” Hewlett Foundation president Larry Kramer said in a statement. “We hope this program plays a role in sustaining and continuing that rich tradition.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Future years of the Hewlett 50 Arts Commissions will focus on dance, traditional arts and film, according to the press release. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are hundreds of statues in New York City. But once you remove the ones in which female figures represent Liberty, Freedom, etc., \u003ca href=\"https://hyperallergic.com/226186/the-only-five-public-statues-of-historic-women-in-nyc/\">just five\u003c/a> sculptures depict actual historical women. (In case you’re wondering: Joan of Arc, Golda Meir, Gertrude Stein, Eleanor Roosevelt, and Harriet Tubman.)\u003c/p>\n\u003cp>An initiative \u003ca href=\"https://nypost.com/2018/06/20/city-officials-seek-nominations-for-monument-honoring-women/\">announced \u003c/a>earlier this year called \u003ca href=\"https://women.nyc/she-built-nyc/\">She Built NYC\u003c/a> aims to change that dismal figure, by commissioning and installing new public monuments that honor women. Now, the city just named its first subject: Shirley Chisholm, the first black woman elected to Congress.\u003c/p>\n\u003cp>The last few years have brought tremendous scrutiny to statues and monuments in the U.S. According to \u003ca href=\"https://www.splcenter.org/20180604/whose-heritage-public-symbols-confederacy\">a report\u003c/a> from the Southern Poverty Law Center, more than 100 monuments and symbols of the Confederacy have been removed since 2015.\u003c/p>\n\u003cp>The push to remove statues that honor figures or causes that don’t square with modern mores has been accompanied by efforts, like New York City’s, to erect more monuments to women and minorities.\u003c/p>\n\u003cp>[contextly_sidebar id=”fhsvwaPV0sNGg5ViA5JXF9hLhjjfhmU5″]\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\">reported\u003c/a>, San Francisco recently introduced \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\">a policy\u003c/a> requiring that women comprise “at least 30% of nonfictional figures depicted or commemorated in statues and other works of art on City-owned property, public building names, and street names, be women.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The city council of Washington, D.C., is considering \u003ca href=\"http://lims.dccouncil.us/Legislation/B22-0346\">legislation\u003c/a> that would fund a statue of a Washingtonian woman or person of color in each of the city’s eight wards.\u003c/p>\n\u003cp>And in a project that will perhaps shed light on more historical women worthy of enshrining in public art, \u003cem>The New York Times\u003c/em> has begun \u003ca href=\"https://www.nytimes.com/2018/03/08/insider/overlooked-obituary.html\">publishing obituaries\u003c/a> of history-making women who were overlooked by the \u003cem>Times\u003c/em> when they died.\u003c/p>\n\u003cp>Chisholm was elected in 1968 to represent New York’s 14th Congressional District, including Brooklyn’s Bedford-Stuyvesant neighborhood. She went on to run for the Democratic party’s nomination for president in 1972. Before her election to the New York state assembly in 1964, she worked as a nursery school teacher and then a consultant to the city’s day care division.\u003c/p>\n\u003cp>[contextly_sidebar id=”Jxm5nEGbFfWPsMRUPasFVL8AY7iuXgUF”]\u003c/p>\n\u003cp>In Congress, Chisholm was a strong advocate for women, as NPR’s Walter Ray Watson \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\">reported\u003c/a> last month:\u003c/p>\n\u003cblockquote>\u003cp>“She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.”\u003c/p>\u003c/blockquote>\n\u003cp>President Barack Obama awarded Chisholm the Presidential Medal of Freedom posthumously in 2015. “There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>The plan to dedicate a statue of Chisholm was announced on Friday, her birthday — and 50 years after her election to the U.S. House of Representatives. Her likeness will stand at an entrance to Brooklyn’s Prospect Park.\u003c/p>\n\u003cp>“We set out to correct a glaring inequity in our public spaces,” Chirlane McCray, the first lady of New York City, \u003ca href=\"https://www.nytimes.com/2018/11/30/nyregion/newyorktoday/new-york-news-chisholm-statue.html\">told\u003c/a> the \u003cem>Times\u003c/em>. She said Chisholm had inspired many women to run for office.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope that putting up the statue now will encourage even more.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=NYC+Has+Just+5+Statues+Of+Historic+Women.+That%27s+About+To+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"We set out to correct a glaring inequity in our public spaces,\" said Chirlane McCray, the first lady of New York City. A number of cities are taking steps to honor women with statues and public art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are hundreds of statues in New York City. But once you remove the ones in which female figures represent Liberty, Freedom, etc., \u003ca href=\"https://hyperallergic.com/226186/the-only-five-public-statues-of-historic-women-in-nyc/\">just five\u003c/a> sculptures depict actual historical women. (In case you’re wondering: Joan of Arc, Golda Meir, Gertrude Stein, Eleanor Roosevelt, and Harriet Tubman.)\u003c/p>\n\u003cp>An initiative \u003ca href=\"https://nypost.com/2018/06/20/city-officials-seek-nominations-for-monument-honoring-women/\">announced \u003c/a>earlier this year called \u003ca href=\"https://women.nyc/she-built-nyc/\">She Built NYC\u003c/a> aims to change that dismal figure, by commissioning and installing new public monuments that honor women. Now, the city just named its first subject: Shirley Chisholm, the first black woman elected to Congress.\u003c/p>\n\u003cp>The last few years have brought tremendous scrutiny to statues and monuments in the U.S. According to \u003ca href=\"https://www.splcenter.org/20180604/whose-heritage-public-symbols-confederacy\">a report\u003c/a> from the Southern Poverty Law Center, more than 100 monuments and symbols of the Confederacy have been removed since 2015.\u003c/p>\n\u003cp>The push to remove statues that honor figures or causes that don’t square with modern mores has been accompanied by efforts, like New York City’s, to erect more monuments to women and minorities.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\">reported\u003c/a>, San Francisco recently introduced \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\">a policy\u003c/a> requiring that women comprise “at least 30% of nonfictional figures depicted or commemorated in statues and other works of art on City-owned property, public building names, and street names, be women.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The city council of Washington, D.C., is considering \u003ca href=\"http://lims.dccouncil.us/Legislation/B22-0346\">legislation\u003c/a> that would fund a statue of a Washingtonian woman or person of color in each of the city’s eight wards.\u003c/p>\n\u003cp>And in a project that will perhaps shed light on more historical women worthy of enshrining in public art, \u003cem>The New York Times\u003c/em> has begun \u003ca href=\"https://www.nytimes.com/2018/03/08/insider/overlooked-obituary.html\">publishing obituaries\u003c/a> of history-making women who were overlooked by the \u003cem>Times\u003c/em> when they died.\u003c/p>\n\u003cp>Chisholm was elected in 1968 to represent New York’s 14th Congressional District, including Brooklyn’s Bedford-Stuyvesant neighborhood. She went on to run for the Democratic party’s nomination for president in 1972. Before her election to the New York state assembly in 1964, she worked as a nursery school teacher and then a consultant to the city’s day care division.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In Congress, Chisholm was a strong advocate for women, as NPR’s Walter Ray Watson \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\">reported\u003c/a> last month:\u003c/p>\n\u003cblockquote>\u003cp>“She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.”\u003c/p>\u003c/blockquote>\n\u003cp>President Barack Obama awarded Chisholm the Presidential Medal of Freedom posthumously in 2015. “There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>The plan to dedicate a statue of Chisholm was announced on Friday, her birthday — and 50 years after her election to the U.S. House of Representatives. Her likeness will stand at an entrance to Brooklyn’s Prospect Park.\u003c/p>\n\u003cp>“We set out to correct a glaring inequity in our public spaces,” Chirlane McCray, the first lady of New York City, \u003ca href=\"https://www.nytimes.com/2018/11/30/nyregion/newyorktoday/new-york-news-chisholm-statue.html\">told\u003c/a> the \u003cem>Times\u003c/em>. She said Chisholm had inspired many women to run for office.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope that putting up the statue now will encourage even more.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=NYC+Has+Just+5+Statues+Of+Historic+Women.+That%27s+About+To+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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