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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>‘s \u003ca href=\"https://www.npr.org/2017/10/26/560044267/first-listen-bob-dylan-trouble-no-more-the-bootleg-series-vol-13-1979-1981\">\u003cem>Bootleg\u003c/em>\u003c/a> series continues this fall with Vol. 14, \u003cem>More Blood, More Tracks.\u003c/em> The 6-CD box set (or two LPs) focuses on material Dylan recorded in 1974, which ultimately led to one of his most acclaimed and best-selling albums, \u003cem>Blood on the Tracks. \u003c/em>\u003c/p>\n\u003cp>In making the announcement today, Columbia Records has shared a lyric video of the first take Dylan ever recorded of the song “If You See Her, Say Hello.” It includes an animated version of Dylan’s own handwriting from his original lyric notebooks.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bob Dylan - If You See Her Say Hello (Take 1) (Official Lyric Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/yl6GOxZsZsg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dylan originally recorded \u003cem>Blood on the Tracks \u003c/em>during several sessions in New York City, but months later decided to revisit the material and record additional songs at Minneapolis’ Sound 80 Studios. While bootlegged versions of some of the recordings have been circulating in the decades since, most of the tracks on Vol 14 of the \u003cem>Bootleg \u003c/em>series have never been available before and include banter, false starts and various outtakes.\u003c/p>\n\u003cp>The \u003cem>Bootleg \u003c/em>series launched in 1991 with \u003cem>Volumes 1-3, \u003c/em>focusing on rare and unreleased recordings Dylan made between 1961 and 1991.\u003c/p>\n\u003chr>\n\u003cp>More Blood, More Tracks – The Bootleg Series Vol. 14 \u003cem>comes out Nov. 2 via Columbia Records/Legacy Recordings (\u003c/em>\u003ca href=\"https://bobdylan.lnk.to/mbmt-cdlp!pr\">\u003cem>standard\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://bobdylan.lnk.to/mbmt-dlx!pr\">\u003cem>deluxe\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://bobdylan.lnk.to/mbmt-strm!pr\">\u003cem>digital\u003c/em>\u003c/a>\u003cem>). \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+An+Early+Outtake+Of+Bob+Dylan%27s+%27If+You+See+Her%2C+Say+Hello%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Down-Home Music: American Roots on Tap at SFO's Terminal 2",
"headTitle": "Down-Home Music: American Roots on Tap at SFO’s Terminal 2 | KQED",
"content": "\u003cp>Sometimes it takes an immigrant to spot something magical we take for granted here in America. That was the story for a lot of American roots music that won over a dedicated champion when a young German teenager arrived in the US after World War II and turned on the radio.\u003c/p>\n\u003cp>“I just fell in love,” says Chris Strachwitz, who now hails from El Cerrito. At the age of 87, he can look back on a long career discovering, documenting and promoting a host of musical traditions, including bluegrass, blues, Cajun, creole, gospel, Tejano, and zydeco, to name just a few.\u003c/p>\n\u003cp>Music fans in the know know Strachwitz is the San Francisco Bay Area’s local legendary ethnomusicologist, akin to \u003ca href=\"https://folklife.si.edu/legacy-honorees/alan-lomax/smithsonian\" target=\"_blank\" rel=\"noopener\">Alan Lomax\u003c/a> and \u003ca href=\"https://folklife.si.edu/legacy-honorees/moses-asch/smithsonian\" target=\"_blank\" rel=\"noopener\">Moses Asch\u003c/a>. But for those who don’t, \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cem>Down-Home Music: The Story of Arhoolie Records\u003c/em>\u003c/a>, in SFO’s Terminal 2, offers a fun-sized introduction to the history with a collection of album covers and concert posters, as well as a short documentary produced by SFO Museum, which put on this exhibition.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=08QCTH2O0R4]”I was simply a song catcher, and I didn’t try to produce anything really. I just caught what I heard that I really liked,” Strachwitz says.That said, he traveled far and wide to find what he liked.\u003c/p>\n\u003cp>His very first recording for the Arhoolie label was of Texas sharecropper Mance Lipscomb of Navasota, Texas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Strachwitz and Mack McCormick recorded Lipscomb in 1960. “I was lucky I had that guitar with me. He loved to play and he just gave us one song after another,” Strachwitz recalls.\u003c/p>\n\u003cfigure id=\"attachment_13840771\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg\" alt=\"Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe.\" width=\"401\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-160x259.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-240x389.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-375x608.jpg 375w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe. \u003ccite>(Photo: Courtesy of the Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After recording with Strachwitz, Lipscomb became a popular figure on the folk music scene, performing for audiences around the country. The story is similar for many other now beloved blues artists like Clifton Chenier, Mississippi Fred McDowell and \u003ca title=\"Mr. Strachwitz talking about Hopkins\" href=\"http://www.youtube.com/watch?v=VW401FcAAnc\">Lightnin’ Hopkins\u003c/a>.\u003c/p>\n\u003cp>“Without Chris, a lot of this music we might have never heard,” says Nicole Mullen, curator of exhibitions at SFO Museum. “We really wanted to show what Chris has done helping to preserve American vernacular music.\u003c/p>\n\u003cp>\u003cem>Down Home\u003c/em> also acknowledges Strachwitz’s work collecting Texas-Mexican music, from mariachi and norteño accordion groups to corridos. Mullen says in many cases these artists “gained fame through him, or he restored their careers.”\u003c/p>\n\u003cp>Strachwitz also collaborated with filmmaker \u003ca href=\"https://lesblank.com/films-by-others/chris-strachwitz/\" target=\"_blank\" rel=\"noopener\">Les Blank\u003c/a> on documentaries like “Chulas Fronteras,” about Tejano music.[youtube https://www.youtube.com/watch?v=IVAfj4yvhps]\u003cbr>\nIn recent years, Strachwitz has been most concerned with preserving his legacy for generations to come.\u003c/p>\n\u003cp>\u003ca href=\"https://folkways.si.edu/arhoolie\" target=\"_blank\" rel=\"noopener\">Smithsonian Folkways Recordings\u003c/a> owns his label now. The \u003ca title=\"Its Web site\" href=\"http://frontera.library.ucla.edu/\">Strachwitz Frontera Collection\u003c/a> at the University of California, Los Angeles provides public access to a huge variety of Mexican and Mexican-American music.\u003c/p>\n\u003cp>These days, Strachwitz also runs the \u003ca href=\"https://arhoolie.org\" target=\"_blank\" rel=\"noopener\">Arhoolie Foundation\u003c/a>, which is, among other things, holding a benefit concert on October 13, 2018 at the UC Theatre in Berkeley featuring Taj Mahal and Oakland’s own Fantastic Negrito. The Foundation will give away the first ever Arhoolie Awards at that event to local musicians, teachers, and community organizations doing their part to keep tradition-based music alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Down-Home Music: The Story of Arhoolie Records\u003c/strong>, runs Sept. 15, 2018 – June 9, 2019 in SFO’s Terminal 2, post-Security, For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes it takes an immigrant to spot something magical we take for granted here in America. That was the story for a lot of American roots music that won over a dedicated champion when a young German teenager arrived in the US after World War II and turned on the radio.\u003c/p>\n\u003cp>“I just fell in love,” says Chris Strachwitz, who now hails from El Cerrito. At the age of 87, he can look back on a long career discovering, documenting and promoting a host of musical traditions, including bluegrass, blues, Cajun, creole, gospel, Tejano, and zydeco, to name just a few.\u003c/p>\n\u003cp>Music fans in the know know Strachwitz is the San Francisco Bay Area’s local legendary ethnomusicologist, akin to \u003ca href=\"https://folklife.si.edu/legacy-honorees/alan-lomax/smithsonian\" target=\"_blank\" rel=\"noopener\">Alan Lomax\u003c/a> and \u003ca href=\"https://folklife.si.edu/legacy-honorees/moses-asch/smithsonian\" target=\"_blank\" rel=\"noopener\">Moses Asch\u003c/a>. But for those who don’t, \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cem>Down-Home Music: The Story of Arhoolie Records\u003c/em>\u003c/a>, in SFO’s Terminal 2, offers a fun-sized introduction to the history with a collection of album covers and concert posters, as well as a short documentary produced by SFO Museum, which put on this exhibition.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/08QCTH2O0R4'\n title='//www.youtube.com/embed/08QCTH2O0R4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”I was simply a song catcher, and I didn’t try to produce anything really. I just caught what I heard that I really liked,” Strachwitz says.That said, he traveled far and wide to find what he liked.\u003c/p>\n\u003cp>His very first recording for the Arhoolie label was of Texas sharecropper Mance Lipscomb of Navasota, Texas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Strachwitz and Mack McCormick recorded Lipscomb in 1960. “I was lucky I had that guitar with me. He loved to play and he just gave us one song after another,” Strachwitz recalls.\u003c/p>\n\u003cfigure id=\"attachment_13840771\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg\" alt=\"Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe.\" width=\"401\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-160x259.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-240x389.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-375x608.jpg 375w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe. \u003ccite>(Photo: Courtesy of the Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After recording with Strachwitz, Lipscomb became a popular figure on the folk music scene, performing for audiences around the country. The story is similar for many other now beloved blues artists like Clifton Chenier, Mississippi Fred McDowell and \u003ca title=\"Mr. Strachwitz talking about Hopkins\" href=\"http://www.youtube.com/watch?v=VW401FcAAnc\">Lightnin’ Hopkins\u003c/a>.\u003c/p>\n\u003cp>“Without Chris, a lot of this music we might have never heard,” says Nicole Mullen, curator of exhibitions at SFO Museum. “We really wanted to show what Chris has done helping to preserve American vernacular music.\u003c/p>\n\u003cp>\u003cem>Down Home\u003c/em> also acknowledges Strachwitz’s work collecting Texas-Mexican music, from mariachi and norteño accordion groups to corridos. Mullen says in many cases these artists “gained fame through him, or he restored their careers.”\u003c/p>\n\u003cp>Strachwitz also collaborated with filmmaker \u003ca href=\"https://lesblank.com/films-by-others/chris-strachwitz/\" target=\"_blank\" rel=\"noopener\">Les Blank\u003c/a> on documentaries like “Chulas Fronteras,” about Tejano music.\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IVAfj4yvhps'\n title='//www.youtube.com/embed/IVAfj4yvhps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nIn recent years, Strachwitz has been most concerned with preserving his legacy for generations to come.\u003c/p>\n\u003cp>\u003ca href=\"https://folkways.si.edu/arhoolie\" target=\"_blank\" rel=\"noopener\">Smithsonian Folkways Recordings\u003c/a> owns his label now. The \u003ca title=\"Its Web site\" href=\"http://frontera.library.ucla.edu/\">Strachwitz Frontera Collection\u003c/a> at the University of California, Los Angeles provides public access to a huge variety of Mexican and Mexican-American music.\u003c/p>\n\u003cp>These days, Strachwitz also runs the \u003ca href=\"https://arhoolie.org\" target=\"_blank\" rel=\"noopener\">Arhoolie Foundation\u003c/a>, which is, among other things, holding a benefit concert on October 13, 2018 at the UC Theatre in Berkeley featuring Taj Mahal and Oakland’s own Fantastic Negrito. The Foundation will give away the first ever Arhoolie Awards at that event to local musicians, teachers, and community organizations doing their part to keep tradition-based music alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Down-Home Music: The Story of Arhoolie Records\u003c/strong>, runs Sept. 15, 2018 – June 9, 2019 in SFO’s Terminal 2, post-Security, For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Gill has lived in the same place in East Oakland for nearly 18 years.\u003c/p>\n\u003cp>But now, Gill, a disabled, 71-year-old painter, faces imminent eviction. Tenant rights activists say that the process by which Gill is being ousted from his longtime home highlights landlords’ exploitation of a city code enforcement loophole—in short, that a landlord can fail to upkeep a property, and then evict the tenant for it.\u003c/p>\n\u003cp>Gill, who paints as Rob Trains, moved into the former firehouse at 1357 93rd Avenue in 2001, after he was displaced from another live-work space in San Francisco. In 2012, the multi-unit property sold to Ray Oppenheimer. Following years of disputes, Oppenheimer last year asked the city to determine the legality of Gill’s unit; an inspector responded with instruction to “discontinue use as a living unit,” which Oppenheimer used to justify evicting Gill. \u003c/p>\n\u003cfigure id=\"attachment_13840807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill and his attorney Jackie Zaneri contend the eviction was retaliatory; Gill at first reported unpermitted construction in another unit on the property to officials, and complained to Oppenheimer about a lack of heat and other conditions. They say Oppenheimer solicited the “notice of violation” from the city in order to oust his tenant, and declined offers from Safer DIY Spaces—an organization formed after the Ghost Ship fire to help tenants of code-deficient housing—to subsidize the unit’s permitting and renovation on the condition of retaining Gill.\u003c/p>\n\u003cp>Oppenheimer, a lighting designer who’s worked with West Edge Opera and Shotgun Players, didn’t respond to interview requests. County records show he bought the property for $425,000 with his parents, who later transferred the title to him alone. His attorney, Jonathan Black of Weston Law Group, called the cost of bringing Gill’s unit up to code prohibitively expensive, and cast doubt on Safer DIY Spaces’ estimates. The organization, which includes prominent live-work architect Thomas Dolan, put the cost at $13,000, but Black put it at “six figures.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The city won’t allow the residential unit,” Black said, arguing that officials left his client no choice. “I’d never advise a client to use code enforcement to get around just-cause.” \u003c/p>\n\u003cfigure id=\"attachment_13840805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg\" alt=\"A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill.\" width=\"800\" height=\"470\" class=\"size-medium wp-image-13840805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue is a section of the city’s just-cause for eviction regulation allowing landlords to withdraw units from the residential market if they’re “unwilling” to correct code violations. \u003c/p>\n\u003cp>“There’s nothing to stop a landlord from deferring maintenance and then citing code enforcement’s own documentation of the resultant violations as a reason to evict,” said Safer DIY Spaces’ David Keenan.\u003c/p>\n\u003cp>Zaneri said Centro Legal de la Raza, which serves low-income clients, has recently seen a rash of evictions similar to Gill’s, stemming from landlords’ own code violations. She called it a “loophole” for landlords to vacate units otherwise subject to tenant protections. It’s concerning, Zaneri said, because code enforcement should be a resource for tenants to hold landlords accountable. “Code-enforcement isn’t supposed to be ordering landlords to evict people unless there’s a life-safety hazard,” she said.\u003c/p>\n\u003cp>The demand to “discontinue use as a living unit” also contradicts Oakland Mayor Libby Schaaf’s Jan. 2017 executive order for officials to avoid displacing tenants of nonconforming housing, which the mayor issued amid concerns about a code-enforcement crackdown following the Ghost Ship fire. An \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\">investigation\u003c/a> found that most evictions from nonconforming units in the months after the fire followed notices of violation containing language such as “discontinue residential use.”\u003c/p>\n\u003cfigure id=\"attachment_13840806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darin Ranelletti, the city’s policy director for housing security, said inspectors were told early last year to instead instruct landlords to “legalize conversions” except in life-threatening conditions. Yet officials have continued to issue what critics call de facto eviction orders.\u003c/p>\n\u003cp>In a June 2017 email to Keenan, reviewed by KQED, Ranelletti wrote that “staff has been instructed to refrain from using the language ‘restore to original use’ on notices pertaining to unpermitted occupancies.” Ranelletti’s email continued, “I agree that this is misleading because the owner can seek the necessary permits and approvals to allow the converted use.”\u003c/p>\n\u003cp>There is “genuine and real willingness to fix this problem in building and planning leadership,” according to Keenan. “But it’s an entrenched institutional practice with real consequences.” \u003c/p>\n\u003cp>Gill moved to San Francisco in the 1960s and helped start Project One, considered the city’s first warehouse commune. He worked as a painter, a contractor, an amateur boxer, and canvas stretcher. Until it was demolished in 2001, he lived at the storied Mission District arts space known as 47 Clarion. A series of surgeries in recent years has impaired his sight and mobility, and he supplements his social security income by building canvas frames and selling his collectible belongings on eBay.\u003c/p>\n\u003cfigure id=\"attachment_13840808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg\" alt=\"Robert Gill shows off his latest painting inside his East Oakland apartment.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill shows off his latest painting inside his East Oakland apartment. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For less than $900 month, Gill rents a small apartment and detached art studio from Oppenheimer. Sculptures and model cars rest on most surfaces, and above his bed is an enormous, vibrantly colored painting—his latest. “I showed the lady at the art store a picture of that canvas and said my 28-year-old punk rock neighbor painted it,” he said. “She believed me!”\u003c/p>\n\u003cp>Gill said he didn’t know his unit lacks approvals until recently. If he had, he wouldn’t have called code enforcement to report Oppenheimer’s unpermitted construction. “Ray knew this place wasn’t up to code,” he said. “He must’ve known about this option all along. Looking back, it seems obvious.” (A 2011 real estate listing alludes to Gill’s unit lacking residential clearance).\u003c/p>\n\u003cp>Avoiding a trial, the parties reached a settlement earlier this week. Gill will receive five months free rent as well as a relocation payment, the total value of which he put at $30,000. If Oppenheimer brings Gill’s unit into compliance, he’s required to offer it back at comparable rent. By then, though, Gill isn’t sure where he’ll be, and he worries that Oppenheimer will instead move into the unit himself, or else offer it as a temporary rental through Airbnb. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My friends have been asking what I’ll do for a year now, and I just tell them to knock it off because I really don’t know yet,” Gill said. “I thought I’d spend the rest of my life here.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Gill has lived in the same place in East Oakland for nearly 18 years.\u003c/p>\n\u003cp>But now, Gill, a disabled, 71-year-old painter, faces imminent eviction. Tenant rights activists say that the process by which Gill is being ousted from his longtime home highlights landlords’ exploitation of a city code enforcement loophole—in short, that a landlord can fail to upkeep a property, and then evict the tenant for it.\u003c/p>\n\u003cp>Gill, who paints as Rob Trains, moved into the former firehouse at 1357 93rd Avenue in 2001, after he was displaced from another live-work space in San Francisco. In 2012, the multi-unit property sold to Ray Oppenheimer. Following years of disputes, Oppenheimer last year asked the city to determine the legality of Gill’s unit; an inspector responded with instruction to “discontinue use as a living unit,” which Oppenheimer used to justify evicting Gill. \u003c/p>\n\u003cfigure id=\"attachment_13840807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill and his attorney Jackie Zaneri contend the eviction was retaliatory; Gill at first reported unpermitted construction in another unit on the property to officials, and complained to Oppenheimer about a lack of heat and other conditions. They say Oppenheimer solicited the “notice of violation” from the city in order to oust his tenant, and declined offers from Safer DIY Spaces—an organization formed after the Ghost Ship fire to help tenants of code-deficient housing—to subsidize the unit’s permitting and renovation on the condition of retaining Gill.\u003c/p>\n\u003cp>Oppenheimer, a lighting designer who’s worked with West Edge Opera and Shotgun Players, didn’t respond to interview requests. County records show he bought the property for $425,000 with his parents, who later transferred the title to him alone. His attorney, Jonathan Black of Weston Law Group, called the cost of bringing Gill’s unit up to code prohibitively expensive, and cast doubt on Safer DIY Spaces’ estimates. The organization, which includes prominent live-work architect Thomas Dolan, put the cost at $13,000, but Black put it at “six figures.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The city won’t allow the residential unit,” Black said, arguing that officials left his client no choice. “I’d never advise a client to use code enforcement to get around just-cause.” \u003c/p>\n\u003cfigure id=\"attachment_13840805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg\" alt=\"A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill.\" width=\"800\" height=\"470\" class=\"size-medium wp-image-13840805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue is a section of the city’s just-cause for eviction regulation allowing landlords to withdraw units from the residential market if they’re “unwilling” to correct code violations. \u003c/p>\n\u003cp>“There’s nothing to stop a landlord from deferring maintenance and then citing code enforcement’s own documentation of the resultant violations as a reason to evict,” said Safer DIY Spaces’ David Keenan.\u003c/p>\n\u003cp>Zaneri said Centro Legal de la Raza, which serves low-income clients, has recently seen a rash of evictions similar to Gill’s, stemming from landlords’ own code violations. She called it a “loophole” for landlords to vacate units otherwise subject to tenant protections. It’s concerning, Zaneri said, because code enforcement should be a resource for tenants to hold landlords accountable. “Code-enforcement isn’t supposed to be ordering landlords to evict people unless there’s a life-safety hazard,” she said.\u003c/p>\n\u003cp>The demand to “discontinue use as a living unit” also contradicts Oakland Mayor Libby Schaaf’s Jan. 2017 executive order for officials to avoid displacing tenants of nonconforming housing, which the mayor issued amid concerns about a code-enforcement crackdown following the Ghost Ship fire. An \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\">investigation\u003c/a> found that most evictions from nonconforming units in the months after the fire followed notices of violation containing language such as “discontinue residential use.”\u003c/p>\n\u003cfigure id=\"attachment_13840806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darin Ranelletti, the city’s policy director for housing security, said inspectors were told early last year to instead instruct landlords to “legalize conversions” except in life-threatening conditions. Yet officials have continued to issue what critics call de facto eviction orders.\u003c/p>\n\u003cp>In a June 2017 email to Keenan, reviewed by KQED, Ranelletti wrote that “staff has been instructed to refrain from using the language ‘restore to original use’ on notices pertaining to unpermitted occupancies.” Ranelletti’s email continued, “I agree that this is misleading because the owner can seek the necessary permits and approvals to allow the converted use.”\u003c/p>\n\u003cp>There is “genuine and real willingness to fix this problem in building and planning leadership,” according to Keenan. “But it’s an entrenched institutional practice with real consequences.” \u003c/p>\n\u003cp>Gill moved to San Francisco in the 1960s and helped start Project One, considered the city’s first warehouse commune. He worked as a painter, a contractor, an amateur boxer, and canvas stretcher. Until it was demolished in 2001, he lived at the storied Mission District arts space known as 47 Clarion. A series of surgeries in recent years has impaired his sight and mobility, and he supplements his social security income by building canvas frames and selling his collectible belongings on eBay.\u003c/p>\n\u003cfigure id=\"attachment_13840808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg\" alt=\"Robert Gill shows off his latest painting inside his East Oakland apartment.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill shows off his latest painting inside his East Oakland apartment. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For less than $900 month, Gill rents a small apartment and detached art studio from Oppenheimer. Sculptures and model cars rest on most surfaces, and above his bed is an enormous, vibrantly colored painting—his latest. “I showed the lady at the art store a picture of that canvas and said my 28-year-old punk rock neighbor painted it,” he said. “She believed me!”\u003c/p>\n\u003cp>Gill said he didn’t know his unit lacks approvals until recently. If he had, he wouldn’t have called code enforcement to report Oppenheimer’s unpermitted construction. “Ray knew this place wasn’t up to code,” he said. “He must’ve known about this option all along. Looking back, it seems obvious.” (A 2011 real estate listing alludes to Gill’s unit lacking residential clearance).\u003c/p>\n\u003cp>Avoiding a trial, the parties reached a settlement earlier this week. Gill will receive five months free rent as well as a relocation payment, the total value of which he put at $30,000. If Oppenheimer brings Gill’s unit into compliance, he’s required to offer it back at comparable rent. By then, though, Gill isn’t sure where he’ll be, and he worries that Oppenheimer will instead move into the unit himself, or else offer it as a temporary rental through Airbnb. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My friends have been asking what I’ll do for a year now, and I just tell them to knock it off because I really don’t know yet,” Gill said. “I thought I’d spend the rest of my life here.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Early Days' Statue in SF, Deemed Racist, Will Be Removed Following Re-Vote",
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"headTitle": "‘Early Days’ Statue in SF, Deemed Racist, Will Be Removed Following Re-Vote | KQED",
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"content": "\u003cp>The San Francisco Board of Appeals voted Wednesday to allow the removal of a Civic Center Plaza statue deemed racist by activists, cultural organizations and much of the city’s political establishment. The decision rejects challenges from a North Bay attorney who likened its removal to burning books in Nazi Germany and “taking the lips off the Mona Lisa.” \u003c/p>\n\u003cp>The vote upheld decisions by the San Francisco Arts Commission and the Historic Preservation Commission to remove “Early Days,” a monument near City Hall depicting a vaquero and a missionary looming over a Native American. A didactic plaque will replace the statue, which is one part of the Pioneer Monument, a group of 19th century sculptures. “Early Days” will be placed in storage.\u003c/p>\n\u003cp>“The San Francisco Arts Commission can now move forward with the removal of this racist and disrespectful sculpture, which has no place in our city,” reads a statement from the agency.\u003c/p>\n\u003cp>“The Arts Commission heard the public outcry against the imagery represented in the ‘Early Days’ sculpture and took the appropriate steps to help rectify an historic injustice,” added Director of Cultural Affairs Tom DeCaigny. \u003c/p>\n\u003cp>Efforts to remove “Early Days,” which critics call degrading and historically inaccurate, began decades ago and renewed last year amid a national movement against Confederate statues and other racist monuments. “We should not have the statue in Civic Center any more than we should have a statue of Robert E. Lee,” former Mayor Ed Lee said in 2017. \u003c/p>\n\u003cfigure id=\"attachment_13840757\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"600\" height=\"800\" class=\"size-full wp-image-13840757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flyers headlined “TEAR DOWN WHITE SUPREMACY” invited locals to voice their objections at the hearing, and dozens of speakers, most of them Native American, decried the statue during public comment. They pointed out that it erroneously depicts a Plains Indian, and invoked the systematic genocide and cultural repression visited upon Native Americans by Europeans—a legacy they said the statue celebrates and carries forward. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m not asking you to destroy it,” said District 5 Supervisor Vallie Brown. “I’m asking you to take it and bury it somewhere deep in the basement where…no one has to see it.”\u003c/p>\n\u003cp>Stephen Schmid, an attorney in Petaluma, challenged the preservation commission’s decision, calling its removal “tantamount to destruction” at a Board of Appeals meeting in April. “We are not the Taliban,” he said. “We do not go and destroy ancient Buddhist temples.” The board at first voted to block the preservation commission’s decision, prompting outcry from then-Mayor Mark Farrell and the Board of Supervisors. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recent months, props and signs emphasizing the statue’s racist symbolism have appeared on “Early Days.” Currently red paint drips like blood from the title at its base. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Appeals voted Wednesday to allow the removal of a Civic Center Plaza statue deemed racist by activists, cultural organizations and much of the city’s political establishment. The decision rejects challenges from a North Bay attorney who likened its removal to burning books in Nazi Germany and “taking the lips off the Mona Lisa.” \u003c/p>\n\u003cp>The vote upheld decisions by the San Francisco Arts Commission and the Historic Preservation Commission to remove “Early Days,” a monument near City Hall depicting a vaquero and a missionary looming over a Native American. A didactic plaque will replace the statue, which is one part of the Pioneer Monument, a group of 19th century sculptures. “Early Days” will be placed in storage.\u003c/p>\n\u003cp>“The San Francisco Arts Commission can now move forward with the removal of this racist and disrespectful sculpture, which has no place in our city,” reads a statement from the agency.\u003c/p>\n\u003cp>“The Arts Commission heard the public outcry against the imagery represented in the ‘Early Days’ sculpture and took the appropriate steps to help rectify an historic injustice,” added Director of Cultural Affairs Tom DeCaigny. \u003c/p>\n\u003cp>Efforts to remove “Early Days,” which critics call degrading and historically inaccurate, began decades ago and renewed last year amid a national movement against Confederate statues and other racist monuments. “We should not have the statue in Civic Center any more than we should have a statue of Robert E. Lee,” former Mayor Ed Lee said in 2017. \u003c/p>\n\u003cfigure id=\"attachment_13840757\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"600\" height=\"800\" class=\"size-full wp-image-13840757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flyers headlined “TEAR DOWN WHITE SUPREMACY” invited locals to voice their objections at the hearing, and dozens of speakers, most of them Native American, decried the statue during public comment. They pointed out that it erroneously depicts a Plains Indian, and invoked the systematic genocide and cultural repression visited upon Native Americans by Europeans—a legacy they said the statue celebrates and carries forward. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not asking you to destroy it,” said District 5 Supervisor Vallie Brown. “I’m asking you to take it and bury it somewhere deep in the basement where…no one has to see it.”\u003c/p>\n\u003cp>Stephen Schmid, an attorney in Petaluma, challenged the preservation commission’s decision, calling its removal “tantamount to destruction” at a Board of Appeals meeting in April. “We are not the Taliban,” he said. “We do not go and destroy ancient Buddhist temples.” The board at first voted to block the preservation commission’s decision, prompting outcry from then-Mayor Mark Farrell and the Board of Supervisors. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recent months, props and signs emphasizing the statue’s racist symbolism have appeared on “Early Days.” Currently red paint drips like blood from the title at its base. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Johnny Strike, frontman of iconic San Francisco punk group Crime, \u003ca href=\"https://www.facebook.com/michael.lucas.731135/posts/10217756283557975\" rel=\"noopener\" target=\"_blank\">died Monday evening\u003c/a> after a long bout with cancer, according to his publisher Michael Lucas. He was 70. \u003c/p>\n\u003cp>Strike, born Gary John Bassett, formed Crime in 1976 and that year released what’s widely considered the country’s first independent punk record, “Hot Wire My Heart.” A fixture of the city’s first-wave punk scene centered around Mabuhay Gardens, Crime became known for wearing cop uniforms, a look immortalized by photographer James Stark. In 1979, Crime \u003ca href=\"https://www.youtube.com/watch?v=1EnZi8C_VYE\" rel=\"noopener\" target=\"_blank\">performed inside San Quentin Prison\u003c/a>, a show released by Target Video. \u003c/p>\n\u003cp>(Columnist Herb Caen noted the group when the authorities requested that Crime refrain from impersonating the police, as Michael Goldberg recounted in his \u003ca href=\"http://www.dementlieu.com/users/obik/arc/crime/int_nyr1.html\">late-1970s profile\u003c/a> for \u003cem>New York Rocker\u003c/em>.)\u003c/p>\n\u003cp>Known for a serrated, thumping sound and gruff vocals, Crime was ambivalent about the label “punk,” referring to themselves instead as “San Francisco’s First and Only Rock ‘n Roll Band.” \u003c/p>\n\u003cfigure id=\"attachment_13840629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/JohnnyStrike-800x451.jpg\" alt=\"Johnny Strike (at right) with his Crime co-founder, Frankie Fix.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13840629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Strike (at right) with his Crime co-founder, Frankie Fix. \u003ccite>(James Stark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between 1976 and 1980, Crime released only three 7” EPs, but demos and live recordings circulated widely via bootlegs in the ensuing years. The full-length compilation \u003cem>San Francisco’s Doomed\u003c/em> appeared legitimately in 1991, and was reissued and remastered in 2004. Another compilation of unreleased recordings, \u003cem>Murder by Guitar: 1976 to 1980\u003c/em>, appeared on Kitten Charmer in 2013, and was re-released the next year by local archival label Superior Viaduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crime reunited and performed widely in the 2000s, releasing an album and an EP of new material. In recent years, Strike also played in Naked Beast with Crime’s Hank Rank and Joey D’Kaye. The group released an eponymous album in 2017.\u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"800\" height=\"538\" class=\"size-medium wp-image-10963533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crime at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in life, Strike was also productive as a novelist and short-story writer. His first novel, \u003cem>Ports of Hell\u003c/em>, appeared in 2004 with a blurb by William Burroughs. Strike’s more recent books were published by Bold Venture Press and Rudos and Rubes. \u003c/p>\n\u003cp>Longtime friend Mike Stax remembered Strike as more than just a musician: “Johnny was a really thoughtful and sensitive guy with a sharp sense of humor and great taste in music, film and literature,” he \u003ca href=\"https://www.facebook.com/photo.php?fbid=1149610095204974&set=a.102207439945250&type=3&theater\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a>. “I learned a lot from him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lucas, who published Strike’s fiction via Rudos and Rubes and played in a later Crime lineup, said Strike requested not to have a memorial service. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Johnny Strike, frontman of iconic San Francisco punk group Crime, \u003ca href=\"https://www.facebook.com/michael.lucas.731135/posts/10217756283557975\" rel=\"noopener\" target=\"_blank\">died Monday evening\u003c/a> after a long bout with cancer, according to his publisher Michael Lucas. He was 70. \u003c/p>\n\u003cp>Strike, born Gary John Bassett, formed Crime in 1976 and that year released what’s widely considered the country’s first independent punk record, “Hot Wire My Heart.” A fixture of the city’s first-wave punk scene centered around Mabuhay Gardens, Crime became known for wearing cop uniforms, a look immortalized by photographer James Stark. In 1979, Crime \u003ca href=\"https://www.youtube.com/watch?v=1EnZi8C_VYE\" rel=\"noopener\" target=\"_blank\">performed inside San Quentin Prison\u003c/a>, a show released by Target Video. \u003c/p>\n\u003cp>(Columnist Herb Caen noted the group when the authorities requested that Crime refrain from impersonating the police, as Michael Goldberg recounted in his \u003ca href=\"http://www.dementlieu.com/users/obik/arc/crime/int_nyr1.html\">late-1970s profile\u003c/a> for \u003cem>New York Rocker\u003c/em>.)\u003c/p>\n\u003cp>Known for a serrated, thumping sound and gruff vocals, Crime was ambivalent about the label “punk,” referring to themselves instead as “San Francisco’s First and Only Rock ‘n Roll Band.” \u003c/p>\n\u003cfigure id=\"attachment_13840629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/JohnnyStrike-800x451.jpg\" alt=\"Johnny Strike (at right) with his Crime co-founder, Frankie Fix.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13840629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JohnnyStrike-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Strike (at right) with his Crime co-founder, Frankie Fix. \u003ccite>(James Stark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between 1976 and 1980, Crime released only three 7” EPs, but demos and live recordings circulated widely via bootlegs in the ensuing years. The full-length compilation \u003cem>San Francisco’s Doomed\u003c/em> appeared legitimately in 1991, and was reissued and remastered in 2004. Another compilation of unreleased recordings, \u003cem>Murder by Guitar: 1976 to 1980\u003c/em>, appeared on Kitten Charmer in 2013, and was re-released the next year by local archival label Superior Viaduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crime reunited and performed widely in the 2000s, releasing an album and an EP of new material. In recent years, Strike also played in Naked Beast with Crime’s Hank Rank and Joey D’Kaye. The group released an eponymous album in 2017.\u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"800\" height=\"538\" class=\"size-medium wp-image-10963533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crime at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in life, Strike was also productive as a novelist and short-story writer. His first novel, \u003cem>Ports of Hell\u003c/em>, appeared in 2004 with a blurb by William Burroughs. Strike’s more recent books were published by Bold Venture Press and Rudos and Rubes. \u003c/p>\n\u003cp>Longtime friend Mike Stax remembered Strike as more than just a musician: “Johnny was a really thoughtful and sensitive guy with a sharp sense of humor and great taste in music, film and literature,” he \u003ca href=\"https://www.facebook.com/photo.php?fbid=1149610095204974&set=a.102207439945250&type=3&theater\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a>. “I learned a lot from him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lucas, who published Strike’s fiction via Rudos and Rubes and played in a later Crime lineup, said Strike requested not to have a memorial service. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Repertory Theatre Appoints New Artistic Director",
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"content": "\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a> has appointed Johanna Pfaelzer as its new artistic director.\u003c/p>\n\u003cp>The major regional performing arts organization announced the hire on Monday, following a year-long search which attracted 160 candidates.\u003c/p>\n\u003cp>The news comes more than one and a half years since Tony Taccone, the company’s previous artistic leader, announced his retirement in January 2017.\u003c/p>\n\u003cp>Over 33 years in the role, Taccone grew Berkeley Rep’s national reputation as a launching pad for Broadway shows like the Green Day musical, \u003cem>American Idiot, \u003c/em>and the Carrie Fisher vehicle, \u003cem>Wishful Drinking\u003c/em>.\u003c/p>\n\u003cp>Pfaelzer will join Berkeley Rep in 2019 from her current position as the artistic director of \u003ca href=\"https://www.newyorkstageandfilm.org/\" target=\"_blank\" rel=\"noopener\">New York Stage and Film\u003c/a>, a performing arts incubator in New York. In that role, Pfaelzer helped to develop the blockbuster musical \u003cem>Hamilton \u003c/em>during its early stages, as well as acclaimed Broadway plays like \u003cem>The Humans. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12946932\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus) \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>I’m excited to bring a lot of the artistic relationships that I’ve developed over the last two decades to Berkeley Rep,” Pfaelzer said in a phone interview. “That includes specific writers, directors, actors and composers, as well as a set of relationships both with commercial producers and with other not-for-profit theaters.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pfaelzer named Ngozi Anyanwu, \u003cspan style=\"font-weight: 400\">Ayad Akhtar\u003c/span> and Hamish Linklater among the artists she hopes to bring to Berkeley in the coming years.\u003c/p>\n\u003cp>But she also said she is committed to delving into the Bay Area’s existing artistic pool.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“One of the things is that I feel like that I want to do first is to reacquaint myself in a deep way with who the local artists are here,” Pfaelzer said. “I’m really excited to begin to know them and their work.”\u003c/p>\n\u003cp>Pfaelzer, 49, has Bay Area roots. She spent her early childhood in Berkeley, has family here, and worked for five years as the associate artistic director at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater \u003c/a>(ACT).\u003c/p>\n\u003cp>Members of the Bay Area theater community are responding positively to the news.\u003c/p>\n\u003cp>“Johanna Pfaelzer has an extraordinary track record of developing thrilling new work, and a deep understanding of the Bay Area community,” said Brad Erickson, executive director of \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “Berkeley Rep\u003cbr>\ncould not have made a better choice.”\u003c/p>\n\u003cp>“To have Johanna across the Bay is nothing but good news,” said Pam MacKinnon, artistic director of ACT. “She is a sublime choice for her commitment to theater artists, taste, curiosity, and sense of humor.”\u003c/p>\n\u003cp>MacKinnon said she’s known Pfaelzer for more than 15 years. The two worked together during Pfaelzer’s tenure at ACT.\u003c/p>\n\u003cp>In recent decades, the Bay Area’s two biggest theater companies have more or less kept their distance from each other. But with Pfaelzer’s recruitment in the East Bay, MacKinnon hopes that will change. “I can imagine doing exciting programming with Berkeley Rep,” MacKinnon said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taccone will continue to lead Berkeley Rep through its 2018-19 season. He will direct the world premiere musical \u003cem>Kiss My Aztec!\u003c/em>, by John Leguizamo next spring.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a> has appointed Johanna Pfaelzer as its new artistic director.\u003c/p>\n\u003cp>The major regional performing arts organization announced the hire on Monday, following a year-long search which attracted 160 candidates.\u003c/p>\n\u003cp>The news comes more than one and a half years since Tony Taccone, the company’s previous artistic leader, announced his retirement in January 2017.\u003c/p>\n\u003cp>Over 33 years in the role, Taccone grew Berkeley Rep’s national reputation as a launching pad for Broadway shows like the Green Day musical, \u003cem>American Idiot, \u003c/em>and the Carrie Fisher vehicle, \u003cem>Wishful Drinking\u003c/em>.\u003c/p>\n\u003cp>Pfaelzer will join Berkeley Rep in 2019 from her current position as the artistic director of \u003ca href=\"https://www.newyorkstageandfilm.org/\" target=\"_blank\" rel=\"noopener\">New York Stage and Film\u003c/a>, a performing arts incubator in New York. In that role, Pfaelzer helped to develop the blockbuster musical \u003cem>Hamilton \u003c/em>during its early stages, as well as acclaimed Broadway plays like \u003cem>The Humans. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12946932\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus) \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>I’m excited to bring a lot of the artistic relationships that I’ve developed over the last two decades to Berkeley Rep,” Pfaelzer said in a phone interview. “That includes specific writers, directors, actors and composers, as well as a set of relationships both with commercial producers and with other not-for-profit theaters.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pfaelzer named Ngozi Anyanwu, \u003cspan style=\"font-weight: 400\">Ayad Akhtar\u003c/span> and Hamish Linklater among the artists she hopes to bring to Berkeley in the coming years.\u003c/p>\n\u003cp>But she also said she is committed to delving into the Bay Area’s existing artistic pool.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“One of the things is that I feel like that I want to do first is to reacquaint myself in a deep way with who the local artists are here,” Pfaelzer said. “I’m really excited to begin to know them and their work.”\u003c/p>\n\u003cp>Pfaelzer, 49, has Bay Area roots. She spent her early childhood in Berkeley, has family here, and worked for five years as the associate artistic director at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater \u003c/a>(ACT).\u003c/p>\n\u003cp>Members of the Bay Area theater community are responding positively to the news.\u003c/p>\n\u003cp>“Johanna Pfaelzer has an extraordinary track record of developing thrilling new work, and a deep understanding of the Bay Area community,” said Brad Erickson, executive director of \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “Berkeley Rep\u003cbr>\ncould not have made a better choice.”\u003c/p>\n\u003cp>“To have Johanna across the Bay is nothing but good news,” said Pam MacKinnon, artistic director of ACT. “She is a sublime choice for her commitment to theater artists, taste, curiosity, and sense of humor.”\u003c/p>\n\u003cp>MacKinnon said she’s known Pfaelzer for more than 15 years. The two worked together during Pfaelzer’s tenure at ACT.\u003c/p>\n\u003cp>In recent decades, the Bay Area’s two biggest theater companies have more or less kept their distance from each other. But with Pfaelzer’s recruitment in the East Bay, MacKinnon hopes that will change. “I can imagine doing exciting programming with Berkeley Rep,” MacKinnon said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taccone will continue to lead Berkeley Rep through its 2018-19 season. He will direct the world premiere musical \u003cem>Kiss My Aztec!\u003c/em>, by John Leguizamo next spring.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/493333311″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>[contextly_sidebar id=”6LDp5OL9qXWD314mcciCSVNBFnskJMA4″]\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/493333311″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/493333311″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13840187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-800x641.jpeg\" alt=\"An artist rendering of 'Fine Balance,' which involves bathtubs on stilts. \" width=\"800\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-240x192.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-375x300.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-520x417.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An artist rendering of ‘Fine Balance,’ which involves bathtubs on stilts. \u003ccite>(Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A 13-year effort to bring city-sponsored public art to Petaluma is encountering a small but vocal group of detractors in the North Bay, the \u003cem>Santa Rosa Press Democrat\u003c/em> first \u003ca href=\"https://www.pressdemocrat.com/news/8611300-181/petaluma-public-art-stirs-controversy\">reported\u003c/a>.\u003c/p>\n\u003cp>Petaluma’s Public Art Committee, created in 2005, commissioned \u003cem>Fine Balance\u003c/em> by San Francisco artist Brian Goggin using $150,000 in development fees earmarked for public art. The artist envisions five bathtubs on stilts near the Petaluma River on Water Street.\u003c/p>\n\u003cp>Goggin, a renowned sculptor \u003ca href=\"https://www.kqed.org/arts/12414388/meet-brian-goggin-gatekeeper-of-your-impossible-dreams\" rel=\"noopener\" target=\"_blank\">profiled by KQED Arts in 2016\u003c/a>, is known for San Francisco works including \u003cem>Defenestration\u003c/em>, which involved 45 pieces of furniture crawling along the exterior of a former tenement on Sixth Street; and \u003cem>Caruso’s Dream\u003c/em>, a sculptural canopy of pianos made from reclaimed factory windows and suspended above Ninth Street.\u003c/p>\n\u003cp>At approximately 20 feet tall, \u003cem>Fine Balance \u003c/em>is a similarly surreal, large-scale sculpture that the artist says references the adjacent river’s Gold Rush-era history of bathtub importing. Solar-powered LED lights will illuminate the waterfront sculptures at night.\u003c/p>\n\u003cp>“The image of a heavy object defying gravity relates to the uniqueness of Petaluma as both a counter-cultural beacon and a traditional base,” reads Goggin’s description of the work. “\u003cem>Fine Balance\u003c/em> refers to the agility required to navigate these times.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”Qj945eLSUttDFlXXwxWOje0wHbQHTEOv”]\u003c/p>\n\u003cp>To opposition leader Scott Andrews, however, Goggin’s proposal for Petaluma is a serious affront. Andrews, a local engineering consultant, has raised more than $3,000 on \u003ca href=\"https://www.gofundme.com/citicitizens-against-tubs-on-stilts\">GoFundMe\u003c/a> to oppose the artwork. The description calls \u003cem>Fine Balance\u003c/em> inappropriate for the location, unrelated to Petaluma, derivative of Salvador Dalí and the stilted Walkers from \u003cem>Star Wars\u003c/em>, a public health hazard, and an impediment to disabled citizens.\u003c/p>\n\u003cp>“The people raising a ruckus, it’s a small segment,” said Public Art Committee member and longtime North Bay arts figure Katherine Plank, adding that it’s unlikely to halt the project. “Those of us involved in the arts have been taken aback by the pushback,” she continued. “At first I thought, ‘Great, people care.’ Now I’m not sure.”\u003c/p>\n\u003cp>In November, a “spatial representation” of the sculptures will be installed as a preview of the piece, and Plank said \u003cem>Fine Balance\u003c/em> is tentatively expected to be completed by next August. “We’ve followed the letter of the law, and the majority of the city council said move ahead,” Plank said. “There is no other vote.”\u003c/p>\n\u003cp>Andrews, whose campaign seeks $5,000, said he’s considering using the money for an “ADA-style lawsuit,” and expressed his willingness to fight the art for the next 10 years.\u003c/p>\n\u003cp>Opponents of the artwork also include the Petaluma Valley Rotary club, which co-organizes the annual Petaluma River Craft Beer Festival on the Water Street site. Rotarians told the \u003cem>Press Democrat\u003c/em> the sculpture could displace 12 of 36 vendor booths, practically ending the festival.\u003c/p>\n\u003cp>But Plank called their concerns unfounded. “There’s no way they can know that,” she said. “Maybe they won’t put a booth where they did in the past, but those numbers are pulled out of thin air.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Petaluma Public Art Committee issued a request for qualifications in 2014 and, in light of uninspiring applicants, another one in 2016. Goggin was chosen from a pool of 65, beating out Petaluma resident and Burning Man-associated sculptor David Best.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13840187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-800x641.jpeg\" alt=\"An artist rendering of 'Fine Balance,' which involves bathtubs on stilts. \" width=\"800\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-240x192.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-375x300.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-520x417.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An artist rendering of ‘Fine Balance,’ which involves bathtubs on stilts. \u003ccite>(Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A 13-year effort to bring city-sponsored public art to Petaluma is encountering a small but vocal group of detractors in the North Bay, the \u003cem>Santa Rosa Press Democrat\u003c/em> first \u003ca href=\"https://www.pressdemocrat.com/news/8611300-181/petaluma-public-art-stirs-controversy\">reported\u003c/a>.\u003c/p>\n\u003cp>Petaluma’s Public Art Committee, created in 2005, commissioned \u003cem>Fine Balance\u003c/em> by San Francisco artist Brian Goggin using $150,000 in development fees earmarked for public art. The artist envisions five bathtubs on stilts near the Petaluma River on Water Street.\u003c/p>\n\u003cp>Goggin, a renowned sculptor \u003ca href=\"https://www.kqed.org/arts/12414388/meet-brian-goggin-gatekeeper-of-your-impossible-dreams\" rel=\"noopener\" target=\"_blank\">profiled by KQED Arts in 2016\u003c/a>, is known for San Francisco works including \u003cem>Defenestration\u003c/em>, which involved 45 pieces of furniture crawling along the exterior of a former tenement on Sixth Street; and \u003cem>Caruso’s Dream\u003c/em>, a sculptural canopy of pianos made from reclaimed factory windows and suspended above Ninth Street.\u003c/p>\n\u003cp>At approximately 20 feet tall, \u003cem>Fine Balance \u003c/em>is a similarly surreal, large-scale sculpture that the artist says references the adjacent river’s Gold Rush-era history of bathtub importing. Solar-powered LED lights will illuminate the waterfront sculptures at night.\u003c/p>\n\u003cp>“The image of a heavy object defying gravity relates to the uniqueness of Petaluma as both a counter-cultural beacon and a traditional base,” reads Goggin’s description of the work. “\u003cem>Fine Balance\u003c/em> refers to the agility required to navigate these times.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To opposition leader Scott Andrews, however, Goggin’s proposal for Petaluma is a serious affront. Andrews, a local engineering consultant, has raised more than $3,000 on \u003ca href=\"https://www.gofundme.com/citicitizens-against-tubs-on-stilts\">GoFundMe\u003c/a> to oppose the artwork. The description calls \u003cem>Fine Balance\u003c/em> inappropriate for the location, unrelated to Petaluma, derivative of Salvador Dalí and the stilted Walkers from \u003cem>Star Wars\u003c/em>, a public health hazard, and an impediment to disabled citizens.\u003c/p>\n\u003cp>“The people raising a ruckus, it’s a small segment,” said Public Art Committee member and longtime North Bay arts figure Katherine Plank, adding that it’s unlikely to halt the project. “Those of us involved in the arts have been taken aback by the pushback,” she continued. “At first I thought, ‘Great, people care.’ Now I’m not sure.”\u003c/p>\n\u003cp>In November, a “spatial representation” of the sculptures will be installed as a preview of the piece, and Plank said \u003cem>Fine Balance\u003c/em> is tentatively expected to be completed by next August. “We’ve followed the letter of the law, and the majority of the city council said move ahead,” Plank said. “There is no other vote.”\u003c/p>\n\u003cp>Andrews, whose campaign seeks $5,000, said he’s considering using the money for an “ADA-style lawsuit,” and expressed his willingness to fight the art for the next 10 years.\u003c/p>\n\u003cp>Opponents of the artwork also include the Petaluma Valley Rotary club, which co-organizes the annual Petaluma River Craft Beer Festival on the Water Street site. Rotarians told the \u003cem>Press Democrat\u003c/em> the sculpture could displace 12 of 36 vendor booths, practically ending the festival.\u003c/p>\n\u003cp>But Plank called their concerns unfounded. “There’s no way they can know that,” she said. “Maybe they won’t put a booth where they did in the past, but those numbers are pulled out of thin air.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Petaluma Public Art Committee issued a request for qualifications in 2014 and, in light of uninspiring applicants, another one in 2016. Goggin was chosen from a pool of 65, beating out Petaluma resident and Burning Man-associated sculptor David Best.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-ballet-executive-director-glenn-mccoy-to-retire-after-31-years",
"title": "San Francisco Ballet Executive Director Glenn McCoy to Retire After 31 Years",
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"content": "\u003cfigure id=\"attachment_13840330\" class=\"wp-caption aligncenter\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800.jpg\" alt=\"Glenn McCoy is retiring after 31 years with the San Francisco Ballet.\" width=\"641\" height=\"800\" class=\"size-full wp-image-13840330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-520x649.jpg 520w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">Glenn McCoy is retiring after 31 years with the San Francisco Ballet. \u003ccite>(Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glenn McCoy, executive director of the San Francisco Ballet, will retire following the 2019 season, the company announced Tuesday. \u003c/p>\n\u003cp>McCoy is \u003ca href=\"https://www.sfgate.com/entertainment/article/Glenn-McCoy-runs-the-business-of-San-Francisco-3297500.php\">credited\u003c/a> with guiding the company through the recession and into a new era of fiscal health. He’s been with the ballet for 31 years, the past 16 years as executive director. \u003c/p>\n\u003cp>In a statement, McCoy said simply of his departure, “The time has come for me to step aside.” He plans to move to Sonoma. \u003c/p>\n\u003cp>San Francisco Ballet Artistic Director Helgi Tomasson, who’s led the esteemed company creatively since 1985, said of McCoy in a statement, “His talent for financial and operational management has enabled me to focus on the company’s repertory and provided the freedom to implement my artistic vision for the Ballet.” \u003c/p>\n\u003cp>Carl Pascarella, chair of the ballet’s board of trustees, also commended McCoy’s leadership. “The company is organizationally stronger than ever and just finished its best year financially and artistically in its 85-year history,” he said in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCoy joined the San Francisco Ballet, known as the country’s oldest professional company, in 1987 and held posts including company manager, general manager, and managing director before becoming executive director in 2002. He will remain director through the 2019 season while the ballet seeks a replacement. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13840330\" class=\"wp-caption aligncenter\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800.jpg\" alt=\"Glenn McCoy is retiring after 31 years with the San Francisco Ballet.\" width=\"641\" height=\"800\" class=\"size-full wp-image-13840330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/San-Francisco-Ballet_McCOY-Glenn_-Color_Web-800-520x649.jpg 520w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">Glenn McCoy is retiring after 31 years with the San Francisco Ballet. \u003ccite>(Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glenn McCoy, executive director of the San Francisco Ballet, will retire following the 2019 season, the company announced Tuesday. \u003c/p>\n\u003cp>McCoy is \u003ca href=\"https://www.sfgate.com/entertainment/article/Glenn-McCoy-runs-the-business-of-San-Francisco-3297500.php\">credited\u003c/a> with guiding the company through the recession and into a new era of fiscal health. He’s been with the ballet for 31 years, the past 16 years as executive director. \u003c/p>\n\u003cp>In a statement, McCoy said simply of his departure, “The time has come for me to step aside.” He plans to move to Sonoma. \u003c/p>\n\u003cp>San Francisco Ballet Artistic Director Helgi Tomasson, who’s led the esteemed company creatively since 1985, said of McCoy in a statement, “His talent for financial and operational management has enabled me to focus on the company’s repertory and provided the freedom to implement my artistic vision for the Ballet.” \u003c/p>\n\u003cp>Carl Pascarella, chair of the ballet’s board of trustees, also commended McCoy’s leadership. “The company is organizationally stronger than ever and just finished its best year financially and artistically in its 85-year history,” he said in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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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": {
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"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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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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