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"content": "\u003cp>Ever fight with your neighbors? Maybe she steals your paper. Or he parks that clunker in front of your house. Or maybe I’m describing \u003cem>you\u003c/em>.\u003c/p>\n\u003cp>Playwright \u003ca href=\"http://www.karenzacarias.com\" target=\"_blank\" rel=\"noopener\">Karen Zacarías\u003c/a> says she was inspired to write \u003cem>Native Gardens \u003c/em>after a dinner party in which a number of her friends related problems with their neighbors. “We all talked about how terrible it is to be in a fight with your neighbor, because it’s where you live, you know. But also, I noticed what all the stories had in common: there was something primal and poetic and absurd.”\u003c/p>\n\u003cp>That got Zacarías thinking, “What if every fight in the world can be narrowed down to four people in a backyard? And what can I learn about myself and my community by looking at it like that?”\u003c/p>\n\u003cp>Zacarías lives in Washington, D.C., but a story about neighbors new and old struggling to find common ground with each other resonates nationwide. In fact, \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> is one of six companies to perform it this year alone. Others include the \u003ca href=\"https://www.pasadenaplayhouse.org/event/native-gardens/\" target=\"_blank\" rel=\"noopener\">Pasadena Playhouse\u003c/a>, where \u003cem>Seinfeld\u003c/em> star Jason Alexander is directing, the \u003ca href=\"https://www.theoldglobe.org/pdp/17-18-season/native-gardens/#?startDate=2018-08-01&?endDate=2018-08-31\" target=\"_blank\" rel=\"noopener\">Old Globe\u003c/a> in San Diego and \u003ca href=\"http://www.intiman.org/nativegardens/#showinfo\" target=\"_blank\" rel=\"noopener\">Intiman Theatre\u003c/a> in Seattle.\u003c/p>\n\u003cfigure id=\"attachment_13840151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg\" alt=\"It's all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cspan style=\"font-weight: 400\">The plot (pun intended)\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">A young Latino couple, \u003c/span>Pablo (Michael Evans Lopez) and Tania (Marlene Martinez),\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan style=\"font-weight: 400\">moves into a nice suburb in Washington, D.C.. They form a fast friendship with the older white couple next door, \u003c/span>Frank (Jackson Davis) and Virginia (Amy Resnick)\u003cspan style=\"font-weight: 400\">. Both couples listen to NPR. Both couples have strong, if conflicting, philosophies about gardening. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then it turns out the fence between them is located two feet onto the young couple’s property. What’s going to happen to \u003c/span>Frank’s potentially prize-winning purple iris and hydrangea?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>Awkward.\u003c/p>\n\u003cp>Add a dash of racial tension — it is a border dispute after all — and you have instant comedy. Yes, says Zacarías, who adds she \u003ci>judges\u003c/i> everyone in the play, including herself.\u003cspan class=\"Apple-converted-space\"> Thinking back to a small neighborly dispute she survived, she says “\u003c/span>You know, I wanted it to be right more than I wanted it to be over.”\u003c/p>\n\u003cfigure id=\"attachment_13840153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg\" alt=\"A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"story_text\">She also wants the audience to change their alliances over the course of the play. Zacarías studied international relations at Stanford, which proved good preparation for this play.\u003cspan class=\"Apple-converted-space\"> She says, \u003c/span>“I think comedy is one of the best ways to talk about things that are thorny.”\u003c/p>\n\u003cp class=\"story_text\">Everybody’s earnest, self-pitying, self-righteous and patronizing. It’s impossible to see the play without thinking of the national border dispute directed by the Trump Administration, but this story could take place in almost any town in Silicon Valley. We can all irritate each other very, very easily, even without the help of politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Native Gardens\u003c/strong>, put on by TheatreWorks Silicon Valley, runs through September 16th at the Mountain View Center \u003c/em>\u003cbr>\n\u003cem>for the Performing Arts. For more info, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" 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>Ever fight with your neighbors? Maybe she steals your paper. Or he parks that clunker in front of your house. Or maybe I’m describing \u003cem>you\u003c/em>.\u003c/p>\n\u003cp>Playwright \u003ca href=\"http://www.karenzacarias.com\" target=\"_blank\" rel=\"noopener\">Karen Zacarías\u003c/a> says she was inspired to write \u003cem>Native Gardens \u003c/em>after a dinner party in which a number of her friends related problems with their neighbors. “We all talked about how terrible it is to be in a fight with your neighbor, because it’s where you live, you know. But also, I noticed what all the stories had in common: there was something primal and poetic and absurd.”\u003c/p>\n\u003cp>That got Zacarías thinking, “What if every fight in the world can be narrowed down to four people in a backyard? And what can I learn about myself and my community by looking at it like that?”\u003c/p>\n\u003cp>Zacarías lives in Washington, D.C., but a story about neighbors new and old struggling to find common ground with each other resonates nationwide. In fact, \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> is one of six companies to perform it this year alone. Others include the \u003ca href=\"https://www.pasadenaplayhouse.org/event/native-gardens/\" target=\"_blank\" rel=\"noopener\">Pasadena Playhouse\u003c/a>, where \u003cem>Seinfeld\u003c/em> star Jason Alexander is directing, the \u003ca href=\"https://www.theoldglobe.org/pdp/17-18-season/native-gardens/#?startDate=2018-08-01&?endDate=2018-08-31\" target=\"_blank\" rel=\"noopener\">Old Globe\u003c/a> in San Diego and \u003ca href=\"http://www.intiman.org/nativegardens/#showinfo\" target=\"_blank\" rel=\"noopener\">Intiman Theatre\u003c/a> in Seattle.\u003c/p>\n\u003cfigure id=\"attachment_13840151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg\" alt=\"It's all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cspan style=\"font-weight: 400\">The plot (pun intended)\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">A young Latino couple, \u003c/span>Pablo (Michael Evans Lopez) and Tania (Marlene Martinez),\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan style=\"font-weight: 400\">moves into a nice suburb in Washington, D.C.. They form a fast friendship with the older white couple next door, \u003c/span>Frank (Jackson Davis) and Virginia (Amy Resnick)\u003cspan style=\"font-weight: 400\">. Both couples listen to NPR. Both couples have strong, if conflicting, philosophies about gardening. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then it turns out the fence between them is located two feet onto the young couple’s property. What’s going to happen to \u003c/span>Frank’s potentially prize-winning purple iris and hydrangea?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>Awkward.\u003c/p>\n\u003cp>Add a dash of racial tension — it is a border dispute after all — and you have instant comedy. Yes, says Zacarías, who adds she \u003ci>judges\u003c/i> everyone in the play, including herself.\u003cspan class=\"Apple-converted-space\"> Thinking back to a small neighborly dispute she survived, she says “\u003c/span>You know, I wanted it to be right more than I wanted it to be over.”\u003c/p>\n\u003cfigure id=\"attachment_13840153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg\" alt=\"A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"story_text\">She also wants the audience to change their alliances over the course of the play. Zacarías studied international relations at Stanford, which proved good preparation for this play.\u003cspan class=\"Apple-converted-space\"> She says, \u003c/span>“I think comedy is one of the best ways to talk about things that are thorny.”\u003c/p>\n\u003cp class=\"story_text\">Everybody’s earnest, self-pitying, self-righteous and patronizing. It’s impossible to see the play without thinking of the national border dispute directed by the Trump Administration, but this story could take place in almost any town in Silicon Valley. We can all irritate each other very, very easily, even without the help of politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Native Gardens\u003c/strong>, put on by TheatreWorks Silicon Valley, runs through September 16th at the Mountain View Center \u003c/em>\u003cbr>\n\u003cem>for the Performing Arts. For more info, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal",
"title": "'It's That Naughty Feeling': George Clinton on Funk's Enduring Appeal",
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"headTitle": "‘It’s That Naughty Feeling’: George Clinton on Funk’s Enduring Appeal | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>sk \u003ca href=\"https://mn2s.com/booking-agency/live-roster/george-clinton/\" target=\"_blank\" rel=\"noopener\">George Clinton\u003c/a> about the first time he came to the Bay Area, and the 77-year-old funk legend remembers it vividly.\u003c/p>\n\u003cp>Well, \u003cem>almost\u003c/em> vividly.\u003c/p>\n\u003cp>The year was 1971, just before the release of Funkadelic’s \u003cem>America Eats Its Young\u003c/em>, a rock-influenced project drenched in far-out jam sessions and Summer of Love psychedelia. In a phone interview from his home in Tallahassee, Florida, he admits his memories of that time are hazy, but he definitely went to Haight-Ashbury and dropped acid.\u003c/p>\n\u003cp>“We was overgrown hippies,” he laughs in his low, raspy tone. “It’s one carnival of a good time when you play over there.”\u003c/p>\n\u003cp>Clinton, who returns to the Bay Area to play the \u003ca href=\"https://www.sausalitoartfestival.org/entertainment-2017/\" target=\"_blank\" rel=\"noopener\">Sausalito Art Festival on Sept. 1\u003c/a>, knows a thing or two about a good time. If one were to diagram the family tree of present-day American popular music, a good number of its branches would trace back to Clinton, the eccentric funk pioneer whose bands Parliament and Funkadelic were responsible for genre-defining hits like “\u003ca href=\"https://youtu.be/T0ZGNGBNIL8\" target=\"_blank\" rel=\"noopener\">Flashlight\u003c/a>,” “\u003ca href=\"https://youtu.be/gBWH3OWfT2Y\" target=\"_blank\" rel=\"noopener\">Give Up the Funk (Tear the Roof off the Sucker)\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=3WOZwwRH6XU\" target=\"_blank\" rel=\"noopener\">One Nation Under a Groove\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clinton’s deep grooves, larger-than-life performances (his \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/watch-george-clintons-mothership-get-reassembled-for-its-museum-debut-180951685/\" target=\"_blank\" rel=\"noopener\">spaceship stage prop\u003c/a> is in the Smithsonian) and otherworldly fashions were a major source of inspiration for Prince, who \u003ca href=\"https://youtu.be/EbS2dIADcsg\" target=\"_blank\" rel=\"noopener\">inducted Parliament-Funkadelic\u003c/a> into the Rock’n’roll Hall of Fame in 1997. In turn, Prince passed those funky, Afrofuturist sensibilities onto Janelle Monáe, with whom he had a close working relationship. Meanwhile, Childish Gambino won a 2018 Grammy for cloning Clinton’s sound on “\u003ca href=\"https://www.youtube.com/watch?v=Kp7eSUU9oy8\" target=\"_blank\" rel=\"noopener\">Redbone\u003c/a>,” a reinterpretation of “\u003ca href=\"https://www.youtube.com/watch?v=0tgYr03o3dE\" target=\"_blank\" rel=\"noopener\">I’d Rather Be With You\u003c/a>,” which Clinton produced for Bootsy Collins.\u003c/p>\n\u003cfigure id=\"attachment_13840061\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-800x1220.jpg\" alt=\"As the father of funk and one of the most sampled artists in hip-hop, George Clinton has made a lasting mark on American popular music.\" width=\"800\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-787x1200.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-240x366.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-375x572.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-520x793.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the father of funk and one of the most sampled artists in hip-hop, George Clinton has made a lasting mark on American popular music. \u003ccite>(Jenny Risher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not to mention, Clinton is one of the most-sampled artists in hip-hop history. Dr. Dre’s Death Row Records, Tupac’s Digital Underground and Too $hort drew the blueprint for West Coast rap from Parliament and Funkadelic’s infectious grooves. New iterations of the style live on today through artists like Kendrick Lamar, YG and Kamaiyah.\u003c/p>\n\u003cp>In short, the offshoots of Clinton’s influence are infinite.\u003c/p>\n\u003cp>“Funk is the DNA in all of that hip-hop, electronic music—whatcha call it—house music, rave,” says Clinton. Over 60 years into his music career, he’s still going full force, with a new Parliament album out called \u003cem>Medicaid Fraud Dogg\u003c/em> and a hectic tour schedule. (For the past two years, he’s been touring extensively with psychedelic producer Flying Lotus and experimental bassist Thundercat, both of whom he’s greatly influenced.)\u003c/p>\n\u003cp>Life on the road can take a toll on one’s health, and Clinton is preparing to retire from performing live in 2019. He told \u003ca href=\"https://hiphopdx.com/interviews/id.3092/title.george-clinton-is-retiring-from-touring-because-he-funked-too-hard#\" target=\"_blank\" rel=\"noopener\">HipHopDX\u003c/a> that he was “funkin’ too hard” for his pacemaker when he made the announcement earlier this year.\u003c/p>\n\u003cp>https://youtu.be/IxAcW7zgAD4\u003c/p>\n\u003cp>However, Clinton’s impending retirement from touring doesn’t mean he’s ready to slow down creatively. He plans to record new material with Parliament-Funkadelic, and he’s training his next generation of heirs. Several of his grandchildren and kids he “found in Tallahassee” lent modern rap and R&B stylings to the ’70s slap of \u003cem>Medicaid Fraud Dogg.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I ask Clinton about the scores of Californian artists he’s influenced, he says with a chuckle, “I guess the West Coast got the funk,” before schooling me on which Parliament and Funkadelic tracks took off in which region. (Funkadelic’s “Knee Deep” and “One Nation Under a Groove” and Parliament’s “Flashlight” resonated on the West Coast, he says, while Funkadelic’s trippier \u003cem>Maggot Brain\u003c/em> and \u003cem>Free Your Mind… \u003c/em>solidified his fan base in the East. The South was into all of it.)\u003c/p>\n\u003cp>As Gen X, millennial and Gen Z fans continue to \u003ca href=\"https://www.complex.com/music/2017/01/complex-conversations-rap-music-generation-gap-debate\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> what constitutes “real” hip-hop, Clinton takes a much longer view of music.\u003c/p>\n\u003cp>“The way I look at it is, the music that gets on your nerves is usually the new music,” he says. “The music you least wanna like is always the music that’s actually putting you out of business. So just let yourself go and enjoy.”\u003c/p>\n\u003cp>https://youtu.be/0eR4aQrYozY\u003c/p>\n\u003cp>Rather than shake his fist at the kids who’ve cobbled their own styles out of Parliament-Funkadelic’s perpetually pulsing grooves, Clinton challenges himself to keep an open mind. He’s even into current chart-topper Cardi B. “I love Cardi B! You can’t help but—the groove is so for real, but your first instinct is, ‘What the hell is this?!'” he exclaims, then pauses. “When I first heard her, just the tone of her voice sounded like a good time.”\u003c/p>\n\u003cp>As for the reason for his music’s longevity? Clinton attributes the enduring appeal of funk—and the ways its spirit lives on through so many disparate newer genres—to a visceral feeling. “It makes you frown up, makes you squint your nose up—almost like something stinks but it still feels good anyway,” he says. “It’s that naughty feeling. That’s the funk breaking out, that’s when your body’s betraying you.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>arliament’s 2018 album is their first release since 1980’s \u003cem>Trombipulation\u003c/em>, though Clinton has put out plenty of music—solo and with Funkadelic—in the intervening years. The distinction between Parliament, Funkadelic and Parliament-Funkadelic is often blurry; when we talk, Clinton calls the loose musical collective a “thang” rather than a band. The latest incarnation features original members and their children.\u003c/p>\n\u003cp>In the tradition of previous Parliament-Funkadelic releases, \u003cem>Medicaid Fraud Dogg\u003c/em> is a concept album that uses sci-fi imagination and raunchy bodily-function humor to underscore real-world issues—in this case, Big Pharma and the opioid epidemic.\u003c/p>\n\u003cp>“It’s really one nation under sedation. They’ve got people hooked on things that sound like Tylenol or Aspirin, but really they’re hardcore drugs,” says Clinton, who himself struggled with drug addiction for years and now abstains from everything except medical marijuana. “The Food and Drug Administration have a nice game goin’ with people’s lives and bodies.”\u003c/p>\n\u003cp>https://youtu.be/mVJpzKbPzyA\u003c/p>\n\u003cp>Few musicians can say they’ve remained relevant since the ’60s, when Clinton first became a staff songwriter at Motown. He attributes his longevity in the digital age to his quickness to adapt to the internet, which he likens to FM radio taking off 60 years ago.\u003c/p>\n\u003cp>“I’ve always dealt with it from the underground point of view,” he says. “With YouTube, you just put your records on the air. Once we realized we could do that, we started focusing on social media just like the kids do.”\u003c/p>\n\u003cp>Parliament-Funkadelic were undoubtedly ahead of their time. With their conceptual albums, alien- and space-themed album art and outlandish performances, their work—like that of jazz pioneer Sun Ra—predated the term “Afrofuturism,” which scholar Mark Dery coined in the early ’90s. Now, with the popularity of Erykah Badu, Janelle Monáe, Outkast and Missy Elliott, science fiction is part of popular music’s vocabulary for imagining more liberated futures where people, and black people in particular, are free to express themselves.\u003c/p>\n\u003cp>“Now it should be common, because we’re getting ready to visit other planets, it’s a reality to this generation,” says Clinton, for whom funk is clearly a universal life force, an energy.\u003c/p>\n\u003cp>And when that next generation gets to other planets?\u003c/p>\n\u003cp>“They’re gonna find out,” Clinton chuckles, “the funk was out there already.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>George Clinton performs at the Sausalito Art Festival on Saturday, Sept. 1. \u003ca href=\"https://www.sausalitoartfestival.org/entertainment-2017/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'It's That Naughty Feeling': George Clinton on Funk's Enduring Appeal | KQED",
"description": "The funk mastermind and one of hip-hop's most-sampled artists performs at the Sausalito Art Festival on Sept. 1. ",
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"headline": "'It's That Naughty Feeling': George Clinton on Funk's Enduring Appeal",
"datePublished": "2018-08-30T16:48:44-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>sk \u003ca href=\"https://mn2s.com/booking-agency/live-roster/george-clinton/\" target=\"_blank\" rel=\"noopener\">George Clinton\u003c/a> about the first time he came to the Bay Area, and the 77-year-old funk legend remembers it vividly.\u003c/p>\n\u003cp>Well, \u003cem>almost\u003c/em> vividly.\u003c/p>\n\u003cp>The year was 1971, just before the release of Funkadelic’s \u003cem>America Eats Its Young\u003c/em>, a rock-influenced project drenched in far-out jam sessions and Summer of Love psychedelia. In a phone interview from his home in Tallahassee, Florida, he admits his memories of that time are hazy, but he definitely went to Haight-Ashbury and dropped acid.\u003c/p>\n\u003cp>“We was overgrown hippies,” he laughs in his low, raspy tone. “It’s one carnival of a good time when you play over there.”\u003c/p>\n\u003cp>Clinton, who returns to the Bay Area to play the \u003ca href=\"https://www.sausalitoartfestival.org/entertainment-2017/\" target=\"_blank\" rel=\"noopener\">Sausalito Art Festival on Sept. 1\u003c/a>, knows a thing or two about a good time. If one were to diagram the family tree of present-day American popular music, a good number of its branches would trace back to Clinton, the eccentric funk pioneer whose bands Parliament and Funkadelic were responsible for genre-defining hits like “\u003ca href=\"https://youtu.be/T0ZGNGBNIL8\" target=\"_blank\" rel=\"noopener\">Flashlight\u003c/a>,” “\u003ca href=\"https://youtu.be/gBWH3OWfT2Y\" target=\"_blank\" rel=\"noopener\">Give Up the Funk (Tear the Roof off the Sucker)\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=3WOZwwRH6XU\" target=\"_blank\" rel=\"noopener\">One Nation Under a Groove\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clinton’s deep grooves, larger-than-life performances (his \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/watch-george-clintons-mothership-get-reassembled-for-its-museum-debut-180951685/\" target=\"_blank\" rel=\"noopener\">spaceship stage prop\u003c/a> is in the Smithsonian) and otherworldly fashions were a major source of inspiration for Prince, who \u003ca href=\"https://youtu.be/EbS2dIADcsg\" target=\"_blank\" rel=\"noopener\">inducted Parliament-Funkadelic\u003c/a> into the Rock’n’roll Hall of Fame in 1997. In turn, Prince passed those funky, Afrofuturist sensibilities onto Janelle Monáe, with whom he had a close working relationship. Meanwhile, Childish Gambino won a 2018 Grammy for cloning Clinton’s sound on “\u003ca href=\"https://www.youtube.com/watch?v=Kp7eSUU9oy8\" target=\"_blank\" rel=\"noopener\">Redbone\u003c/a>,” a reinterpretation of “\u003ca href=\"https://www.youtube.com/watch?v=0tgYr03o3dE\" target=\"_blank\" rel=\"noopener\">I’d Rather Be With You\u003c/a>,” which Clinton produced for Bootsy Collins.\u003c/p>\n\u003cfigure id=\"attachment_13840061\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-800x1220.jpg\" alt=\"As the father of funk and one of the most sampled artists in hip-hop, George Clinton has made a lasting mark on American popular music.\" width=\"800\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-787x1200.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-240x366.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-375x572.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GeorgeClinton_photo-credot-Jenny-Risher-2-520x793.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the father of funk and one of the most sampled artists in hip-hop, George Clinton has made a lasting mark on American popular music. \u003ccite>(Jenny Risher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not to mention, Clinton is one of the most-sampled artists in hip-hop history. Dr. Dre’s Death Row Records, Tupac’s Digital Underground and Too $hort drew the blueprint for West Coast rap from Parliament and Funkadelic’s infectious grooves. New iterations of the style live on today through artists like Kendrick Lamar, YG and Kamaiyah.\u003c/p>\n\u003cp>In short, the offshoots of Clinton’s influence are infinite.\u003c/p>\n\u003cp>“Funk is the DNA in all of that hip-hop, electronic music—whatcha call it—house music, rave,” says Clinton. Over 60 years into his music career, he’s still going full force, with a new Parliament album out called \u003cem>Medicaid Fraud Dogg\u003c/em> and a hectic tour schedule. (For the past two years, he’s been touring extensively with psychedelic producer Flying Lotus and experimental bassist Thundercat, both of whom he’s greatly influenced.)\u003c/p>\n\u003cp>Life on the road can take a toll on one’s health, and Clinton is preparing to retire from performing live in 2019. He told \u003ca href=\"https://hiphopdx.com/interviews/id.3092/title.george-clinton-is-retiring-from-touring-because-he-funked-too-hard#\" target=\"_blank\" rel=\"noopener\">HipHopDX\u003c/a> that he was “funkin’ too hard” for his pacemaker when he made the announcement earlier this year.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IxAcW7zgAD4'\n title='//www.youtube.com/embed/IxAcW7zgAD4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>However, Clinton’s impending retirement from touring doesn’t mean he’s ready to slow down creatively. He plans to record new material with Parliament-Funkadelic, and he’s training his next generation of heirs. Several of his grandchildren and kids he “found in Tallahassee” lent modern rap and R&B stylings to the ’70s slap of \u003cem>Medicaid Fraud Dogg.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I ask Clinton about the scores of Californian artists he’s influenced, he says with a chuckle, “I guess the West Coast got the funk,” before schooling me on which Parliament and Funkadelic tracks took off in which region. (Funkadelic’s “Knee Deep” and “One Nation Under a Groove” and Parliament’s “Flashlight” resonated on the West Coast, he says, while Funkadelic’s trippier \u003cem>Maggot Brain\u003c/em> and \u003cem>Free Your Mind… \u003c/em>solidified his fan base in the East. The South was into all of it.)\u003c/p>\n\u003cp>As Gen X, millennial and Gen Z fans continue to \u003ca href=\"https://www.complex.com/music/2017/01/complex-conversations-rap-music-generation-gap-debate\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> what constitutes “real” hip-hop, Clinton takes a much longer view of music.\u003c/p>\n\u003cp>“The way I look at it is, the music that gets on your nerves is usually the new music,” he says. “The music you least wanna like is always the music that’s actually putting you out of business. So just let yourself go and enjoy.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0eR4aQrYozY'\n title='//www.youtube.com/embed/0eR4aQrYozY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rather than shake his fist at the kids who’ve cobbled their own styles out of Parliament-Funkadelic’s perpetually pulsing grooves, Clinton challenges himself to keep an open mind. He’s even into current chart-topper Cardi B. “I love Cardi B! You can’t help but—the groove is so for real, but your first instinct is, ‘What the hell is this?!'” he exclaims, then pauses. “When I first heard her, just the tone of her voice sounded like a good time.”\u003c/p>\n\u003cp>As for the reason for his music’s longevity? Clinton attributes the enduring appeal of funk—and the ways its spirit lives on through so many disparate newer genres—to a visceral feeling. “It makes you frown up, makes you squint your nose up—almost like something stinks but it still feels good anyway,” he says. “It’s that naughty feeling. That’s the funk breaking out, that’s when your body’s betraying you.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>arliament’s 2018 album is their first release since 1980’s \u003cem>Trombipulation\u003c/em>, though Clinton has put out plenty of music—solo and with Funkadelic—in the intervening years. The distinction between Parliament, Funkadelic and Parliament-Funkadelic is often blurry; when we talk, Clinton calls the loose musical collective a “thang” rather than a band. The latest incarnation features original members and their children.\u003c/p>\n\u003cp>In the tradition of previous Parliament-Funkadelic releases, \u003cem>Medicaid Fraud Dogg\u003c/em> is a concept album that uses sci-fi imagination and raunchy bodily-function humor to underscore real-world issues—in this case, Big Pharma and the opioid epidemic.\u003c/p>\n\u003cp>“It’s really one nation under sedation. They’ve got people hooked on things that sound like Tylenol or Aspirin, but really they’re hardcore drugs,” says Clinton, who himself struggled with drug addiction for years and now abstains from everything except medical marijuana. “The Food and Drug Administration have a nice game goin’ with people’s lives and bodies.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mVJpzKbPzyA'\n title='//www.youtube.com/embed/mVJpzKbPzyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Few musicians can say they’ve remained relevant since the ’60s, when Clinton first became a staff songwriter at Motown. He attributes his longevity in the digital age to his quickness to adapt to the internet, which he likens to FM radio taking off 60 years ago.\u003c/p>\n\u003cp>“I’ve always dealt with it from the underground point of view,” he says. “With YouTube, you just put your records on the air. Once we realized we could do that, we started focusing on social media just like the kids do.”\u003c/p>\n\u003cp>Parliament-Funkadelic were undoubtedly ahead of their time. With their conceptual albums, alien- and space-themed album art and outlandish performances, their work—like that of jazz pioneer Sun Ra—predated the term “Afrofuturism,” which scholar Mark Dery coined in the early ’90s. Now, with the popularity of Erykah Badu, Janelle Monáe, Outkast and Missy Elliott, science fiction is part of popular music’s vocabulary for imagining more liberated futures where people, and black people in particular, are free to express themselves.\u003c/p>\n\u003cp>“Now it should be common, because we’re getting ready to visit other planets, it’s a reality to this generation,” says Clinton, for whom funk is clearly a universal life force, an energy.\u003c/p>\n\u003cp>And when that next generation gets to other planets?\u003c/p>\n\u003cp>“They’re gonna find out,” Clinton chuckles, “the funk was out there already.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>George Clinton performs at the Sausalito Art Festival on Saturday, Sept. 1. \u003ca href=\"https://www.sausalitoartfestival.org/entertainment-2017/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fire-inspection-at-oakland-art-space-prompts-renegade-show-at-lake-merritt",
"title": "Fire Inspection at Oakland Art Space Prompts ‘Renegade’ Show at Lake Merritt",
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"headTitle": "Fire Inspection at Oakland Art Space Prompts ‘Renegade’ Show at Lake Merritt | KQED",
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"content": "\u003cp>On Friday, Aug. 17, Grumpy Green was busy installing a group exhibition at the East Oakland art space known as Trash Palace when they heard loud knocking at the door. As soon as they opened it, fire inspector Miguel Villanueva planted his foot in the doorway. Green said Villanueva told them the art and furniture temporarily staged in the hallway posed a life-safety risk, giving him “probable cause” to enter the building without their permission.\u003c/p>\n\u003cp>Green and another artist involved in the show, Daria Lourd, debated Villanueva and another official until he decided to call his supervisor. “I asked for documents, and they said they didn’t need any,” Lourd said, adding that the landlord hadn’t notified the tenants of the pending inspection. “They said we were actually on some kind of list.”\u003c/p>\n\u003cfigure id=\"attachment_13839872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-768x800.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1020x1062.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1153x1200.jpg 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1180x1229.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-960x1000.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-240x250.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-520x541.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2.jpg 1844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A banner by Aida Lizalde at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two more officials soon arrived, as well as the space’s leaseholder, Anthony Walter, who consented to the inspection. “They came in and took pictures of everything and threatened to red-tag the place,” said Green, calling their tone accusatory. “They even stopped to take pictures of a pair of boots that had ‘all cops are bullies’ written on them.”\u003c/p>\n\u003cp>Villanueva, who didn’t respond to an interview request, left the tenants with a two-page report, reviewed by KQED, listing “deficiencies” related to fire extinguishers, carbon monoxide detectors, exposed electrical fixtures, and “housekeeping,” as well as orders to change the building’s “use or occupancy,” writing that it’s “not permitted for assembly.”\u003c/p>\n\u003cp>Billed \u003cem>Are You Comfortable?\u003c/em>, the art show Green had been setting up before the inspection originally featured 16 artists “exploring queer sanctuary,” according to its flyer. The visit by Villanueva, and a fear of officials or police returning during the event, inspired the organizers to relocate the show, and they spread word of a “renegade location” to be announced the next afternoon. On Saturday at 5pm, they shared a map with a line leading from Grand Avenue to the Lake Merritt bandstand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I spent four months working on a floor plan for that show,” Green said. “So I figured we should just do it outside in public at the lake—go out, take up space, and not be silenced.”\u003c/p>\n\u003cfigure id=\"attachment_13839871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation by Zelda Hazel at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At about the time police officers were shining flashlights into Trash Palace that Saturday night, looking for the exhibition, more than 50 people milled around the bandstand at the lake. With the help of a generator, music echoed and projections spilled across an improvised screen. An artist named Neut cooked on a camping stove, while another created a playpen in an effort to encourage childhood regression. “We didn’t cancel or retreat to some tiny space,” Green said. “It sent a message.” They placed a banner on the staircase, reading “ARE YOU COMFORTABLE?”\u003c/p>\n\u003cp>Guerrilla Davis hung photos he’d taken of Adonis Emory posing with materials inside the construction site for Brooklyn Basin—a sprawling development surrounding and, some say, jeopardizing the \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">historic artist enclaves at 5th Avenue Point\u003c/a>. An accompanying text, taped to the bandstand pillars, criticized city government, particularly tourism bureau Visit Oakland, for accelerating gentrification: “How are we supposed to thrive when our work and/or live spaces are threatened and pulled out from under us?”\u003c/p>\n\u003cp>Lourd, a DJ and producer, has helped organize workshops and other events at Trash Palace for more than a year. “It was a very queer and trans-centric space—most of the shows were based on giving space to marginalized artists,” she said. But disagreements over the future of the space, which was mostly known by word of mouth, prompted many studio tenants to move out before the inspection, she said. “It shows spaces like this are changing—if not because of code enforcement, then because of people with more money.”\u003c/p>\n\u003cfigure id=\"attachment_13839874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1200x790.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1180x777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guerrilla Davis photographs at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to city records, a zoning complaint from Dec. 2016 regarding unpermitted residential use was marked “no violation found,” and in July 2017 officials sent a nuisance notice to the owner, Hi-Suk Dong, regarding “unpermitted special events.” (Dong, who also co-owns downtown eatery Mua, did not respond to interview requests.)\u003c/p>\n\u003cp>Walter, a photographer who signed a new lease days before the inspection, said that the attention from officials is motivating him to legitimize the space as a commercial studio complex with a gallery and a new name. He’s in touch with Safer DIY Spaces, an advocacy group formed in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We still want it to be queer and trans-oriented,” Walter said. “The vision is really just for it not to fall to developers.”\u003c/p>\n\n",
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"excerpt": "The future of the East Oakland art space known as Trash Palace remains unclear after a surprise Aug. 17 inspection.",
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"title": "Fire Inspection at Oakland Art Space Prompts ‘Renegade’ Show at Lake Merritt | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, Aug. 17, Grumpy Green was busy installing a group exhibition at the East Oakland art space known as Trash Palace when they heard loud knocking at the door. As soon as they opened it, fire inspector Miguel Villanueva planted his foot in the doorway. Green said Villanueva told them the art and furniture temporarily staged in the hallway posed a life-safety risk, giving him “probable cause” to enter the building without their permission.\u003c/p>\n\u003cp>Green and another artist involved in the show, Daria Lourd, debated Villanueva and another official until he decided to call his supervisor. “I asked for documents, and they said they didn’t need any,” Lourd said, adding that the landlord hadn’t notified the tenants of the pending inspection. “They said we were actually on some kind of list.”\u003c/p>\n\u003cfigure id=\"attachment_13839872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-768x800.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1020x1062.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1153x1200.jpg 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1180x1229.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-960x1000.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-240x250.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-520x541.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2.jpg 1844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A banner by Aida Lizalde at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two more officials soon arrived, as well as the space’s leaseholder, Anthony Walter, who consented to the inspection. “They came in and took pictures of everything and threatened to red-tag the place,” said Green, calling their tone accusatory. “They even stopped to take pictures of a pair of boots that had ‘all cops are bullies’ written on them.”\u003c/p>\n\u003cp>Villanueva, who didn’t respond to an interview request, left the tenants with a two-page report, reviewed by KQED, listing “deficiencies” related to fire extinguishers, carbon monoxide detectors, exposed electrical fixtures, and “housekeeping,” as well as orders to change the building’s “use or occupancy,” writing that it’s “not permitted for assembly.”\u003c/p>\n\u003cp>Billed \u003cem>Are You Comfortable?\u003c/em>, the art show Green had been setting up before the inspection originally featured 16 artists “exploring queer sanctuary,” according to its flyer. The visit by Villanueva, and a fear of officials or police returning during the event, inspired the organizers to relocate the show, and they spread word of a “renegade location” to be announced the next afternoon. On Saturday at 5pm, they shared a map with a line leading from Grand Avenue to the Lake Merritt bandstand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I spent four months working on a floor plan for that show,” Green said. “So I figured we should just do it outside in public at the lake—go out, take up space, and not be silenced.”\u003c/p>\n\u003cfigure id=\"attachment_13839871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation by Zelda Hazel at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At about the time police officers were shining flashlights into Trash Palace that Saturday night, looking for the exhibition, more than 50 people milled around the bandstand at the lake. With the help of a generator, music echoed and projections spilled across an improvised screen. An artist named Neut cooked on a camping stove, while another created a playpen in an effort to encourage childhood regression. “We didn’t cancel or retreat to some tiny space,” Green said. “It sent a message.” They placed a banner on the staircase, reading “ARE YOU COMFORTABLE?”\u003c/p>\n\u003cp>Guerrilla Davis hung photos he’d taken of Adonis Emory posing with materials inside the construction site for Brooklyn Basin—a sprawling development surrounding and, some say, jeopardizing the \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">historic artist enclaves at 5th Avenue Point\u003c/a>. An accompanying text, taped to the bandstand pillars, criticized city government, particularly tourism bureau Visit Oakland, for accelerating gentrification: “How are we supposed to thrive when our work and/or live spaces are threatened and pulled out from under us?”\u003c/p>\n\u003cp>Lourd, a DJ and producer, has helped organize workshops and other events at Trash Palace for more than a year. “It was a very queer and trans-centric space—most of the shows were based on giving space to marginalized artists,” she said. But disagreements over the future of the space, which was mostly known by word of mouth, prompted many studio tenants to move out before the inspection, she said. “It shows spaces like this are changing—if not because of code enforcement, then because of people with more money.”\u003c/p>\n\u003cfigure id=\"attachment_13839874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1200x790.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1180x777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guerrilla Davis photographs at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to city records, a zoning complaint from Dec. 2016 regarding unpermitted residential use was marked “no violation found,” and in July 2017 officials sent a nuisance notice to the owner, Hi-Suk Dong, regarding “unpermitted special events.” (Dong, who also co-owns downtown eatery Mua, did not respond to interview requests.)\u003c/p>\n\u003cp>Walter, a photographer who signed a new lease days before the inspection, said that the attention from officials is motivating him to legitimize the space as a commercial studio complex with a gallery and a new name. He’s in touch with Safer DIY Spaces, an advocacy group formed in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We still want it to be queer and trans-oriented,” Walter said. “The vision is really just for it not to fall to developers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly 2018 Lineup: Ani DiFranco, Los Lobos, Graham Nash and More",
"headTitle": "Hardly Strictly 2018 Lineup: Ani DiFranco, Los Lobos, Graham Nash and More | KQED",
"content": "\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>, the annual free musical festival, returns to Golden Gate Park for its 18th edition for the weekend of Oct. 5–7. As its name suggests, the festival has branched outside of the bluegrass, folk and country realm in recent years, sprinkling their lineups with unusual surprises like last year’s set from New Orleans’ queen of bounce, Big Freedia, who brought audience members up on stage for a twerk contest.\u003c/p>\n\u003cp>This year’s Hardly Strictly lineup was chosen by a new curator, Chris Porter, following the departure of longtime talent booker Dawn Holliday. The event features over 80 acts on six stages.\u003c/p>\n\u003cp>A few highlights from this year’s Hardly Strictly lineup, announced Tuesday, include rising bluegrass band I’m With Her; veteran Angeleno rockers Los Lobos; New Orleans indie rock, neo-soul and folk band Hurray for the Riff Raff; singer-songwriter Ani DiFranco; Graham Nash of Crosby, Stills, Nash & Young; and Jeff Tweedy of Wilco.\u003c/p>\n\u003cp>https://youtu.be/T7xWl50pKyo\u003c/p>\n\u003cp>Check out the complete lineup below:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aaron Lee Tasjan, Aki Kumar, Alison Krauss, Ana Tijoux, Andrea Gibson, Ani DiFranco, Bo & Lebo with Friends, Booker T. Jones Stax Revue, Buddy Miller’s Cavalcade of Stars featuring The Cave Singers, Tracy Nelson, Molly Tuttle, The War and Treaty, Buddy Miller, Courtney Marie Andrews, Dale Watson, Darlingside, Dave Alvin & Jimmie Dale Gilmore with The Guilty Ones, David Bromberg Quintet, David Luning, Deer Tick, Del McCoury Band, Don Was & Friends, Dry Branch Fire Squad, Eilen Jewell, Emmylou Harris & The Red Dirt Boys, Evolfo, Four Year Bender, Glorietta, Gomez, Graham Nash, Gregory Alan Isakov, Hip Spanic Allstars, Howlin Rain, Hurray For The Riff Raff, I’m With Her, JD McPherson, Jeff Tweedy, Jon Langford and the Sturdy Nelsons, Justin Townes Earle, Kacy & Clayton, Kevin & Dustin Welch, Kieran Kane & Rayna Gellert, Langhorne Slim, Laurie Lewis & The Right Hands, Live From Here with Chris Thile, Liz Brasher, Los Lobos, Marco and The Polos, Matador! Soul Sounds, Mavis Staples, Moonalice, Nancy & The Lambchops, Nick Lowe’s Quality Rock & Roll Revue with Los Straitjackets, Patty Griffin, Peter Rowan, Prairie Prince Presents “Tommy,” Raise Your Voice, Robert Finley, Robyn Hitchcock: Electrospective, Rodney Crowell, Roky Erickson, Sammy Brue, Sera Cahoone, Songcatching Hazel feat. Eli West, Ismay & Paper Wings, Steve Earle & The Dukes, Steve Forbert, The Brothers Gibb, The Dead South, The Family Crest, The Flatlanders, The Go To Hell Man Band, The Greyboy Allstars, The Letterboxers feat. SF Middle Schoolers, The Lone Bellow, The Mastersons, The Wailin’ Jennys, Tim Barry, Tim O’Brien, Trampled by Turtles, Vetiver, Ween.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>, the annual free musical festival, returns to Golden Gate Park for its 18th edition for the weekend of Oct. 5–7. As its name suggests, the festival has branched outside of the bluegrass, folk and country realm in recent years, sprinkling their lineups with unusual surprises like last year’s set from New Orleans’ queen of bounce, Big Freedia, who brought audience members up on stage for a twerk contest.\u003c/p>\n\u003cp>This year’s Hardly Strictly lineup was chosen by a new curator, Chris Porter, following the departure of longtime talent booker Dawn Holliday. The event features over 80 acts on six stages.\u003c/p>\n\u003cp>A few highlights from this year’s Hardly Strictly lineup, announced Tuesday, include rising bluegrass band I’m With Her; veteran Angeleno rockers Los Lobos; New Orleans indie rock, neo-soul and folk band Hurray for the Riff Raff; singer-songwriter Ani DiFranco; Graham Nash of Crosby, Stills, Nash & Young; and Jeff Tweedy of Wilco.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T7xWl50pKyo'\n title='//www.youtube.com/embed/T7xWl50pKyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Check out the complete lineup below:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tenants of San Francisco practice space Moss Street Rehearsal Studios received 30-day eviction notices Aug. 13, bringing an end to the business after 35 years. \u003c/p>\n\u003cp>The rehearsal space, located at the corner of Moss and Folsom streets, is a turn-of-the-century Victorian subdivided into eight monthly practice units and one residence for an on-site manager. According to its owner, the space was founded in 1983 by musicians, including one who roadied for the Grateful Dead. \u003c/p>\n\u003cp>Jake Rodriguez, a nine-year Moss St. tenant and an experimental artist who performs as \u003ca href=\"https://branpos.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">bran(…)pos\u003c/a>, described it as the best practice space he’s encountered in the Bay Area. He called the eviction and news of the \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\">Hemlock Tavern’s closure\u003c/a> a “1-2 punch by the Bay.” \u003c/p>\n\u003cp>Groups that have rehearsed at Moss St., which local artists describe as a fixture of San Francisco’s underground rock scene in the 2000s, include Thee Oh Sees, Burmese, Sic Alps, Erase Errata, XBXRX, Total Shutdown, and the Flying Luttenbachers. \u003c/p>\n\u003cp>Pam Dubier, a Sotheby’s realtor specializing in overseas investment and “high-end Northern San Francisco neighborhoods,” according to \u003ca href=\"http://dubiergroup.com/about/\">her website\u003c/a>, bought the building and the business in 2007. The 30-day notices, posted to all occupied units, came from Daniel Bornstein, an attorney known for hosting \u003ca href=\"https://www.sfgate.com/bayarea/article/Lawyer-pumps-up-S-F-landlords-at-boot-camp-5008552.php\" rel=\"noopener\" target=\"_blank\">eviction “boot camps”\u003c/a> for landlords.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dubier told KQED she bought the building because, growing up in New Orleans, she developed an appreciation for local music. But she added that there’s less and less demand for rehearsal space in San Francisco. “The musicians with money have their own studios at home now,” she said. “Unfortunately, a lot of local musicians have had to leave the area.”\u003c/p>\n\u003cp>Dubier said she’s struggled to fill two vacant units: one has been empty for six weeks, the other for three months. But the last post advertising a vacancy on the space’s Facebook page appeared more than a year ago, and local rehearsal space operators—\u003ca href=\"https://www.eastbayexpress.com/oakland/rehearsal-studios-booming-business-sends-mixed-message-about-local-music/Content?oid=16716748\">especially in the East Bay\u003c/a>—say monthly studio demand is the highest it’s been since the early 2000s. \u003c/p>\n\u003cp>For example, the waiting list for lockout units at three-story Oakland Music Complex, the largest space in the Bay Area, boasts more than 150 names, according to management. \u003c/p>\n\u003cp>Asked if 30 days is enough time for her tenants to find another practice space, Dubier brought up nearby Lennon Studios, which has 26 monthly rental units. “They’ve got an option six blocks away,” she said. But Jimmy Crucifix, who manages Lennon’s lockout units, told KQED that they have no lockout vacancies. “It’s really hard to find a monthly space—there’s always demand.” he said. “Right now our list is like 40, 50 pages long.”\u003c/p>\n\u003cp>Crucifix added that he’s already gotten three calls from tenants at Moss Street. “They’re desperate,” he said. “What I tell them is we have storage lockers for gear and that we do hourly, too.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dubier said she’s open to selling the business. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tenants of San Francisco practice space Moss Street Rehearsal Studios received 30-day eviction notices Aug. 13, bringing an end to the business after 35 years. \u003c/p>\n\u003cp>The rehearsal space, located at the corner of Moss and Folsom streets, is a turn-of-the-century Victorian subdivided into eight monthly practice units and one residence for an on-site manager. According to its owner, the space was founded in 1983 by musicians, including one who roadied for the Grateful Dead. \u003c/p>\n\u003cp>Jake Rodriguez, a nine-year Moss St. tenant and an experimental artist who performs as \u003ca href=\"https://branpos.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">bran(…)pos\u003c/a>, described it as the best practice space he’s encountered in the Bay Area. He called the eviction and news of the \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\">Hemlock Tavern’s closure\u003c/a> a “1-2 punch by the Bay.” \u003c/p>\n\u003cp>Groups that have rehearsed at Moss St., which local artists describe as a fixture of San Francisco’s underground rock scene in the 2000s, include Thee Oh Sees, Burmese, Sic Alps, Erase Errata, XBXRX, Total Shutdown, and the Flying Luttenbachers. \u003c/p>\n\u003cp>Pam Dubier, a Sotheby’s realtor specializing in overseas investment and “high-end Northern San Francisco neighborhoods,” according to \u003ca href=\"http://dubiergroup.com/about/\">her website\u003c/a>, bought the building and the business in 2007. The 30-day notices, posted to all occupied units, came from Daniel Bornstein, an attorney known for hosting \u003ca href=\"https://www.sfgate.com/bayarea/article/Lawyer-pumps-up-S-F-landlords-at-boot-camp-5008552.php\" rel=\"noopener\" target=\"_blank\">eviction “boot camps”\u003c/a> for landlords.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dubier told KQED she bought the building because, growing up in New Orleans, she developed an appreciation for local music. But she added that there’s less and less demand for rehearsal space in San Francisco. “The musicians with money have their own studios at home now,” she said. “Unfortunately, a lot of local musicians have had to leave the area.”\u003c/p>\n\u003cp>Dubier said she’s struggled to fill two vacant units: one has been empty for six weeks, the other for three months. But the last post advertising a vacancy on the space’s Facebook page appeared more than a year ago, and local rehearsal space operators—\u003ca href=\"https://www.eastbayexpress.com/oakland/rehearsal-studios-booming-business-sends-mixed-message-about-local-music/Content?oid=16716748\">especially in the East Bay\u003c/a>—say monthly studio demand is the highest it’s been since the early 2000s. \u003c/p>\n\u003cp>For example, the waiting list for lockout units at three-story Oakland Music Complex, the largest space in the Bay Area, boasts more than 150 names, according to management. \u003c/p>\n\u003cp>Asked if 30 days is enough time for her tenants to find another practice space, Dubier brought up nearby Lennon Studios, which has 26 monthly rental units. “They’ve got an option six blocks away,” she said. But Jimmy Crucifix, who manages Lennon’s lockout units, told KQED that they have no lockout vacancies. “It’s really hard to find a monthly space—there’s always demand.” he said. “Right now our list is like 40, 50 pages long.”\u003c/p>\n\u003cp>Crucifix added that he’s already gotten three calls from tenants at Moss Street. “They’re desperate,” he said. “What I tell them is we have storage lockers for gear and that we do hourly, too.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dubier said she’s open to selling the business. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine a spiky dandelion puff that’s illuminated from within by an LED light show at night and you have \u003ca href=\"https://www.foldhaus.com/radialumia/\" target=\"_blank\" rel=\"noopener\">RadiaLumia\u003c/a>, a five story-tall geodesic sphere, covered with giant radiant spikes and 42 sensor-driven origami shells that open and close.\u003c/p>\n\u003cp>Oh that’s right: you don’t have to imagine. You can see it right there. But those panels that look like flowers move. You can see one here:\u003c/p>\n\u003cfigure id=\"attachment_13839705\" class=\"wp-caption aligncenter\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/radialumia-motion.gif\" alt=\"42 motors make the origami move.\" width=\"270\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">42 motors make the origami move. \u003ccite>(GIF: Courtesy of FoldHaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here:\u003c/p>\n\u003cfigure id=\"attachment_13839706\" class=\"wp-caption aligncenter\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839706\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/radialumia-mvmt.gif\" alt=\"Is this a robot? Or something more organic? This year's art theme is "I, Robot" but who's going to be a stickler about that?\" width=\"360\" height=\"305\">\u003cfigcaption class=\"wp-caption-text\">Is this a robot? Or something more organic? This year’s art theme is “I, Robot” but who’s going to be a stickler about that? \u003ccite>(GIF: Courtesy of FoldHaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s the kind of art that you almost need \u003ca href=\"https://burningman.org\" target=\"_blank\" rel=\"noopener\">Burning Man\u003c/a> to inspire. It’s so audacious and also whimsical at the same time,” says Jesse Silver, a VP of product at the cannabis company Pax and one of the leaders of an army of roughly fifty volunteers who call themselves \u003ca href=\"https://www.foldhaus.com\" target=\"_blank\" rel=\"noopener\">FoldHaus\u003c/a>.\u003c/p>\n\u003cp>Who are they? Bay Area\u003cb>\u003c/b> designers and engineers — many of them connected to the design firm \u003ca href=\"https://www.ideo.com\" target=\"_blank\" rel=\"noopener\">IDEO\u003c/a>. Like Joerg Student, an executive design director and the other FoldHaus lead. “All of our sculptures are somehow inspired by nature. Like, we did flowers [\u003ca href=\"https://www.foldhaus.com/blumen-lumen/\" target=\"_blank\" rel=\"noopener\">Blumen Lumen\u003c/a>], and then we did mushrooms [\u003ca href=\"https://www.foldhaus.com/shrumen-lumen/\" target=\"_blank\" rel=\"noopener\">Shrumen Lumen\u003c/a>]. This year, the inspiration comes from this tiny protozoa called radiolaria that floats in the ocean,” Student says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Radiolaria come in all shapes and sizes, as this nifty video demonstrates: [youtube https://www.youtube.com/watch?v=6XQ2z9GERtI]\u003c/p>\n\u003cp>Once the FoldHaus team settled on a type of radiolaria, a huge amount of creativity and sweat equity went into turning the idea into reality. “I think each of our projects builds on the last one,” Silver says. “It would be almost impossible to come out here and build anything like this as a first time Playa artist. Our ability to make something of this complexity level is just because we’ve done the mushroom project before and the flower project before that.”\u003c/p>\n\u003cp>Silver continues, “There are so many subsystems that are so so complicated and just so intricate. So there’s a team of people that just worked on computer systems and interaction, and a whole team of people that worked on power and wiring, and a whole team of people that worked on construction and structure. So it’s the first time we’ve built a project where I’m actually not sure if there’s any one person who really knows all of the details.”\u003c/p>\n\u003cp>There are even volunteers whose contribution will be watching over the sculpture to keep people from damaging the work. “It’s very unlikely someone would deliberately do something malicious. But the worry about this structure is mainly that it looks very climb-able. It’s essentially a geodesic sphere with all the struts and you kind of want to just grab onto one and scale it,” Silver admits.\u003c/p>\n\u003cfigure id=\"attachment_13839709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/radialumia-inside-800x531.jpeg\" alt=\"Burning Man art is built to withstand dust storms — and people high on drugs — so it travels well beyond the desert. The 2016 project “Shrumen Lumen” is showing with other Burning Man art at the Smithsonian American Art Museum in Washington, DC through the end of the year. But “RadiaLumia” is so big, it may require something like a city plaza to hold it. Anyone? \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-1020x677.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-1200x797.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-960x637.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-240x159.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-375x249.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-520x345.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burning Man art is built to withstand dust storms — and people high on drugs — so it travels well beyond the desert. The 2016 project “Shrumen Lumen” is showing with other Burning Man art at the Smithsonian American Art Museum in Washington, DC through the end of the year. But “RadiaLumia” is so big, it may require something like a city plaza to hold it. Anyone? \u003ccite>(Photo: Courtesy of RadiaLumia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, RadiaLumia is interactive. There’s a platform inside, where visitors can climb up to get an inside view. Sensors built into the panels within reach of people on the sand tell the computer running commands to generates new patterns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The intent, after all, is to incite delight, Student says. “Wow! It’s beautiful, and then it starts moving, and then [people] scream out loud. Which makes us happy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine a spiky dandelion puff that’s illuminated from within by an LED light show at night and you have \u003ca href=\"https://www.foldhaus.com/radialumia/\" target=\"_blank\" rel=\"noopener\">RadiaLumia\u003c/a>, a five story-tall geodesic sphere, covered with giant radiant spikes and 42 sensor-driven origami shells that open and close.\u003c/p>\n\u003cp>Oh that’s right: you don’t have to imagine. You can see it right there. But those panels that look like flowers move. You can see one here:\u003c/p>\n\u003cfigure id=\"attachment_13839705\" class=\"wp-caption aligncenter\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/radialumia-motion.gif\" alt=\"42 motors make the origami move.\" width=\"270\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">42 motors make the origami move. \u003ccite>(GIF: Courtesy of FoldHaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here:\u003c/p>\n\u003cfigure id=\"attachment_13839706\" class=\"wp-caption aligncenter\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839706\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/radialumia-mvmt.gif\" alt=\"Is this a robot? Or something more organic? This year's art theme is "I, Robot" but who's going to be a stickler about that?\" width=\"360\" height=\"305\">\u003cfigcaption class=\"wp-caption-text\">Is this a robot? Or something more organic? This year’s art theme is “I, Robot” but who’s going to be a stickler about that? \u003ccite>(GIF: Courtesy of FoldHaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s the kind of art that you almost need \u003ca href=\"https://burningman.org\" target=\"_blank\" rel=\"noopener\">Burning Man\u003c/a> to inspire. It’s so audacious and also whimsical at the same time,” says Jesse Silver, a VP of product at the cannabis company Pax and one of the leaders of an army of roughly fifty volunteers who call themselves \u003ca href=\"https://www.foldhaus.com\" target=\"_blank\" rel=\"noopener\">FoldHaus\u003c/a>.\u003c/p>\n\u003cp>Who are they? Bay Area\u003cb>\u003c/b> designers and engineers — many of them connected to the design firm \u003ca href=\"https://www.ideo.com\" target=\"_blank\" rel=\"noopener\">IDEO\u003c/a>. Like Joerg Student, an executive design director and the other FoldHaus lead. “All of our sculptures are somehow inspired by nature. Like, we did flowers [\u003ca href=\"https://www.foldhaus.com/blumen-lumen/\" target=\"_blank\" rel=\"noopener\">Blumen Lumen\u003c/a>], and then we did mushrooms [\u003ca href=\"https://www.foldhaus.com/shrumen-lumen/\" target=\"_blank\" rel=\"noopener\">Shrumen Lumen\u003c/a>]. This year, the inspiration comes from this tiny protozoa called radiolaria that floats in the ocean,” Student says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Radiolaria come in all shapes and sizes, as this nifty video demonstrates: \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/6XQ2z9GERtI'\n title='//www.youtube.com/embed/6XQ2z9GERtI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Once the FoldHaus team settled on a type of radiolaria, a huge amount of creativity and sweat equity went into turning the idea into reality. “I think each of our projects builds on the last one,” Silver says. “It would be almost impossible to come out here and build anything like this as a first time Playa artist. Our ability to make something of this complexity level is just because we’ve done the mushroom project before and the flower project before that.”\u003c/p>\n\u003cp>Silver continues, “There are so many subsystems that are so so complicated and just so intricate. So there’s a team of people that just worked on computer systems and interaction, and a whole team of people that worked on power and wiring, and a whole team of people that worked on construction and structure. So it’s the first time we’ve built a project where I’m actually not sure if there’s any one person who really knows all of the details.”\u003c/p>\n\u003cp>There are even volunteers whose contribution will be watching over the sculpture to keep people from damaging the work. “It’s very unlikely someone would deliberately do something malicious. But the worry about this structure is mainly that it looks very climb-able. It’s essentially a geodesic sphere with all the struts and you kind of want to just grab onto one and scale it,” Silver admits.\u003c/p>\n\u003cfigure id=\"attachment_13839709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/radialumia-inside-800x531.jpeg\" alt=\"Burning Man art is built to withstand dust storms — and people high on drugs — so it travels well beyond the desert. The 2016 project “Shrumen Lumen” is showing with other Burning Man art at the Smithsonian American Art Museum in Washington, DC through the end of the year. But “RadiaLumia” is so big, it may require something like a city plaza to hold it. Anyone? \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-1020x677.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-1200x797.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-960x637.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-240x159.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-375x249.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside-520x345.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/radialumia-inside.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burning Man art is built to withstand dust storms — and people high on drugs — so it travels well beyond the desert. The 2016 project “Shrumen Lumen” is showing with other Burning Man art at the Smithsonian American Art Museum in Washington, DC through the end of the year. But “RadiaLumia” is so big, it may require something like a city plaza to hold it. Anyone? \u003ccite>(Photo: Courtesy of RadiaLumia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, RadiaLumia is interactive. There’s a platform inside, where visitors can climb up to get an inside view. Sensors built into the panels within reach of people on the sand tell the computer running commands to generates new patterns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The intent, after all, is to incite delight, Student says. “Wow! It’s beautiful, and then it starts moving, and then [people] scream out loud. Which makes us happy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1984, Dixi and Mario Carrillo bought the storefront next door to their home in East Oakland. A few years later, they bought the property next to that. The couple then combined the two parcels, converted them to live-work, and marketed the long, narrow loft units to other artists like themselves. Mario, a painter, gradually added mosaic tiles to the buildings’ exteriors: at first a simple row of red rectangles, and later intricate, jazzily patterned shards of color.\u003c/p>\n\u003cp>“The white in front of 808—that was his last piece,” Dixi said recently in her late husband’s studio, where ceramic casts of his face filled a table. “He had a stroke. When I visited him in the hospital, he said, ‘I finished the tiles, but they still need to be glazed.’”\u003c/p>\n\u003cp>[contextly_sidebar id=”3mec7epR936g3lpQ0eBqi663stZbHk0a”]\u003c/p>\n\u003cp>Dixi, 74, a landscape photographer, contemplated selling the 7-unit rental property next to her home when she retired five years ago, but realtors gave her pause. One wanted to make the building his office, and Dixi, after learning of his shoddy record as a property manager, declined the $1.4 million offer. She was nervous for her tenants, two of whom have been there more than 25 years, and she also felt protective of Mario’s artwork.\u003c/p>\n\u003cp>Instead, Dixi recently sold the property to the \u003ca href=\"https://oakclt.org/\">Oakland Community Land Trust\u003c/a> (OakCLT), a nonprofit aiming to preserve affordable housing through the acquisition and stewardship of land. Steve King, the organization’s director, happens to be one of her tenants, and helped engineer a $1.1 million deal for the property that will maintain the tenants’ low rent. (King lives in a separate rental of Dixi’s that’s not part of the sale.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s all kinds of below market-rate housing in East Oakland,” King said. “A speculator sees an opportunity to raise rent where we see an opportunity to preserve it.”\u003c/p>\n\u003cfigure id=\"attachment_13839548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg\" alt=\"Dixi Carrillo.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>OakCLT, which was founded amid the foreclosure crisis in 2009, owns 24 properties—mostly single-family homes bound by affordability covenants where the nonprofit is the permanent land steward. But last year OakCLT acquired its \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\">first mixed-use building\u003c/a>: a two-story structure containing four social justice-oriented storefronts and eight housing units. Recently it also bought the \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Haste-Muerte-created-a-safe-space-for-Oakland-13147211.php\">commercial-residential building\u003c/a> containing controversial cafe Hasta Muerte.\u003c/p>\n\u003cp>The acquisition of Dixi Carrillo’s property, at 800 E 24th St., marks its first foray into live-work spaces, which have long provided emerging and underground artists affordable alternatives to remote studios. Now Oakland artists are increasingly looking to land trusts and collective ownership models to combat displacement and cultural erasure as real-estate competition intensifies. (The residents of 5th Avenue live-work complex Shadetree \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">recently bought their waterfront home\u003c/a> in a land trust-inspired arrangement.) What’s to stop OakCLT from continuing to scale to meet the need? \u003c/p>\n\u003cp>“It’s a question of values and political will,” King said. “We’re trying to make the case for more resources for community-driven projects like this.”\u003c/p>\n\u003cp>It’s also a question of sellers who are willing—and patient.\u003c/p>\n\u003cp>Dixi and King started discussing the sale four years ago, but couldn’t finance the transaction without raising the current tenants’ rent. Then, in 2016, King participated in Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, which ended up citing OakCLT as a model for protecting artist enclaves vulnerable to displacement in its final report. That November, Alameda County voters also approved Measure KK, issuing $600 million in bond funds for infrastructure improvements and affordable housing.\u003c/p>\n\u003cp>To finance the E. 24th St. acquisition, King applied for $900,000 in KK funds, and OakCLT put up $200,000 in equity. The sale closed July 10. “We bought it because we cared about the neighborhood and preserving the environment,” Dixi said. “Now I’ve sold it for the same reason.” The units range from 800-2,000 square feet, with rent averaging $1 per square foot. The residents will continue to pay rent to the land trust, but are considering a limited-equity cooperative, which would give them an ownership stake.\u003c/p>\n\u003cfigure id=\"attachment_13839549\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E 24th St. residents with Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Residents include Myles Boisen, an audio engineer and decades-long fixture of local experimental music who moved in 25 years ago; and Polly Moller Springhorn, who lives with her partner and bandmate Tim Walters in a lofted unit with a recording studio. Springhorn moved in three years ago, replacing her guitar teacher. “My old neighbors didn’t appreciate me practicing my voice or flute or guitar,” she said. Now she and Walters rehearse Tuesday evenings; the neighbor’s Malian group practices on Mondays.\u003c/p>\n\u003cp>Dixi said she plans to use the proceeds from the sale to help her daughter, a radio producer in New York, buy a house in Brooklyn. She pointed out more of Mario’s art: a gate made from interlocking chrome circles (which a stolen car drove through mid-construction), and an excruciatingly detailed wooden-door carving. “He went through three Dremels,” she said, noting that OakCLT is in talks with local preservationist Betty Marvin, who led the city’s Cultural Heritage Survey, about memorializing his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, at least, his studio will be preserved, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1984, Dixi and Mario Carrillo bought the storefront next door to their home in East Oakland. A few years later, they bought the property next to that. The couple then combined the two parcels, converted them to live-work, and marketed the long, narrow loft units to other artists like themselves. Mario, a painter, gradually added mosaic tiles to the buildings’ exteriors: at first a simple row of red rectangles, and later intricate, jazzily patterned shards of color.\u003c/p>\n\u003cp>“The white in front of 808—that was his last piece,” Dixi said recently in her late husband’s studio, where ceramic casts of his face filled a table. “He had a stroke. When I visited him in the hospital, he said, ‘I finished the tiles, but they still need to be glazed.’”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dixi, 74, a landscape photographer, contemplated selling the 7-unit rental property next to her home when she retired five years ago, but realtors gave her pause. One wanted to make the building his office, and Dixi, after learning of his shoddy record as a property manager, declined the $1.4 million offer. She was nervous for her tenants, two of whom have been there more than 25 years, and she also felt protective of Mario’s artwork.\u003c/p>\n\u003cp>Instead, Dixi recently sold the property to the \u003ca href=\"https://oakclt.org/\">Oakland Community Land Trust\u003c/a> (OakCLT), a nonprofit aiming to preserve affordable housing through the acquisition and stewardship of land. Steve King, the organization’s director, happens to be one of her tenants, and helped engineer a $1.1 million deal for the property that will maintain the tenants’ low rent. (King lives in a separate rental of Dixi’s that’s not part of the sale.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s all kinds of below market-rate housing in East Oakland,” King said. “A speculator sees an opportunity to raise rent where we see an opportunity to preserve it.”\u003c/p>\n\u003cfigure id=\"attachment_13839548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg\" alt=\"Dixi Carrillo.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>OakCLT, which was founded amid the foreclosure crisis in 2009, owns 24 properties—mostly single-family homes bound by affordability covenants where the nonprofit is the permanent land steward. But last year OakCLT acquired its \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\">first mixed-use building\u003c/a>: a two-story structure containing four social justice-oriented storefronts and eight housing units. Recently it also bought the \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Haste-Muerte-created-a-safe-space-for-Oakland-13147211.php\">commercial-residential building\u003c/a> containing controversial cafe Hasta Muerte.\u003c/p>\n\u003cp>The acquisition of Dixi Carrillo’s property, at 800 E 24th St., marks its first foray into live-work spaces, which have long provided emerging and underground artists affordable alternatives to remote studios. Now Oakland artists are increasingly looking to land trusts and collective ownership models to combat displacement and cultural erasure as real-estate competition intensifies. (The residents of 5th Avenue live-work complex Shadetree \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">recently bought their waterfront home\u003c/a> in a land trust-inspired arrangement.) What’s to stop OakCLT from continuing to scale to meet the need? \u003c/p>\n\u003cp>“It’s a question of values and political will,” King said. “We’re trying to make the case for more resources for community-driven projects like this.”\u003c/p>\n\u003cp>It’s also a question of sellers who are willing—and patient.\u003c/p>\n\u003cp>Dixi and King started discussing the sale four years ago, but couldn’t finance the transaction without raising the current tenants’ rent. Then, in 2016, King participated in Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, which ended up citing OakCLT as a model for protecting artist enclaves vulnerable to displacement in its final report. That November, Alameda County voters also approved Measure KK, issuing $600 million in bond funds for infrastructure improvements and affordable housing.\u003c/p>\n\u003cp>To finance the E. 24th St. acquisition, King applied for $900,000 in KK funds, and OakCLT put up $200,000 in equity. The sale closed July 10. “We bought it because we cared about the neighborhood and preserving the environment,” Dixi said. “Now I’ve sold it for the same reason.” The units range from 800-2,000 square feet, with rent averaging $1 per square foot. The residents will continue to pay rent to the land trust, but are considering a limited-equity cooperative, which would give them an ownership stake.\u003c/p>\n\u003cfigure id=\"attachment_13839549\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E 24th St. residents with Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Residents include Myles Boisen, an audio engineer and decades-long fixture of local experimental music who moved in 25 years ago; and Polly Moller Springhorn, who lives with her partner and bandmate Tim Walters in a lofted unit with a recording studio. Springhorn moved in three years ago, replacing her guitar teacher. “My old neighbors didn’t appreciate me practicing my voice or flute or guitar,” she said. Now she and Walters rehearse Tuesday evenings; the neighbor’s Malian group practices on Mondays.\u003c/p>\n\u003cp>Dixi said she plans to use the proceeds from the sale to help her daughter, a radio producer in New York, buy a house in Brooklyn. She pointed out more of Mario’s art: a gate made from interlocking chrome circles (which a stolen car drove through mid-construction), and an excruciatingly detailed wooden-door carving. “He went through three Dremels,” she said, noting that OakCLT is in talks with local preservationist Betty Marvin, who led the city’s Cultural Heritage Survey, about memorializing his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, at least, his studio will be preserved, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Clark, an extensively published poet and biographer, died after being struck by a car Friday night in Berkeley, the Alameda County coroner’s office confirmed. He was 77. \u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyside.com/2018/08/18/tom-clark-renowned-poet-and-biographer-dies-in-north-berkeley-traffic-collision\">Berkeleyside reported\u003c/a> that Clark was crossing The Alameda at Marin Avenue in North Berkeley when the collision occurred. A Berkeley police spokesperson told the news outlet that the driver, a 59-year-old Richmond man, is cooperating with the investigation, and that the motorist didn’t appear to be impaired by drugs or alcohol. \u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.poetryfoundation.org/poets/tom-clark\">Poetry Foundation biography\u003c/a>, Clark wrote dozens of books of poetry and multiple novels and story collections, plus biographies of literary figures such as Jack Kerouac and Robert Creeley. Between 1963 and 1973 Clark was poetry editor of esteemed literary publication \u003cem>Paris Review\u003c/em>, and his criticism appeared in outlets including the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>New York Times\u003c/em>. \u003c/p>\n\u003cp>“Tom Clark, the lyric imp of American poetry, has delivered many decades’ worth of goofy, melancholic, cosmic, playful, and wiggy poems,” wrote Billy Collins, poet laureate of the United States from 2001 to 2003, in a review of one of Clark’s final books of poetry, \u003cem>Light & Shade\u003c/em>. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.poets.org/poetsorg/poet/tom-clark\">Academy of American poets\u003c/a>, Clark was born March 1, 1941 in Chicago, Illinois, and worked as a young man at Wrigley Field and Comiskey Park, observing mid-century sports figures that he’d later reference in poems and prose. Clark attended John Carroll University in Ohio and then the University of Michigan before studying at Cambridge University in England, where he met and hitchhiked across Europe with Allen Ginsberg. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Clark’s poems ranged across many subjects and styles,” reads the Poetry Foundation biography, describing his work as “topical, political, and engaged with American experience.” Reviewing a 1992 book of poetry, \u003cem>Chronicle\u003c/em> critic Joel Lewis called Clark “one of American poetry’s most consistent and constant chroniclers of our long sleepwalk to parts unknown.”\u003c/p>\n\u003cp>He is survived by his wife of 40 years, Angelica Heinegg. Together they maintained a blog, \u003ca href=\"http://tomclarkblog.blogspot.com/\">Beyond the Pale\u003c/a>. It was updated the day Clark died with a post about refugees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clark was honored with fellowships and awards from organizations including the Guggenheim Foundation, the Rockefeller Foundation, and the National Endowment for the Arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Clark, an extensively published poet and biographer, died after being struck by a car Friday night in Berkeley, the Alameda County coroner’s office confirmed. He was 77. \u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyside.com/2018/08/18/tom-clark-renowned-poet-and-biographer-dies-in-north-berkeley-traffic-collision\">Berkeleyside reported\u003c/a> that Clark was crossing The Alameda at Marin Avenue in North Berkeley when the collision occurred. A Berkeley police spokesperson told the news outlet that the driver, a 59-year-old Richmond man, is cooperating with the investigation, and that the motorist didn’t appear to be impaired by drugs or alcohol. \u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.poetryfoundation.org/poets/tom-clark\">Poetry Foundation biography\u003c/a>, Clark wrote dozens of books of poetry and multiple novels and story collections, plus biographies of literary figures such as Jack Kerouac and Robert Creeley. Between 1963 and 1973 Clark was poetry editor of esteemed literary publication \u003cem>Paris Review\u003c/em>, and his criticism appeared in outlets including the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>New York Times\u003c/em>. \u003c/p>\n\u003cp>“Tom Clark, the lyric imp of American poetry, has delivered many decades’ worth of goofy, melancholic, cosmic, playful, and wiggy poems,” wrote Billy Collins, poet laureate of the United States from 2001 to 2003, in a review of one of Clark’s final books of poetry, \u003cem>Light & Shade\u003c/em>. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.poets.org/poetsorg/poet/tom-clark\">Academy of American poets\u003c/a>, Clark was born March 1, 1941 in Chicago, Illinois, and worked as a young man at Wrigley Field and Comiskey Park, observing mid-century sports figures that he’d later reference in poems and prose. Clark attended John Carroll University in Ohio and then the University of Michigan before studying at Cambridge University in England, where he met and hitchhiked across Europe with Allen Ginsberg. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Clark’s poems ranged across many subjects and styles,” reads the Poetry Foundation biography, describing his work as “topical, political, and engaged with American experience.” Reviewing a 1992 book of poetry, \u003cem>Chronicle\u003c/em> critic Joel Lewis called Clark “one of American poetry’s most consistent and constant chroniclers of our long sleepwalk to parts unknown.”\u003c/p>\n\u003cp>He is survived by his wife of 40 years, Angelica Heinegg. Together they maintained a blog, \u003ca href=\"http://tomclarkblog.blogspot.com/\">Beyond the Pale\u003c/a>. It was updated the day Clark died with a post about refugees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clark was honored with fellowships and awards from organizations including the Guggenheim Foundation, the Rockefeller Foundation, and the National Endowment for the Arts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Composer \u003ca href=\"http://henrymollicone.com\" target=\"_blank\" rel=\"noopener\">Henry Mollicone\u003c/a> was a young man 40 years ago when the \u003ca href=\"https://centralcityopera.org\" target=\"_blank\" rel=\"noopener\">Central City Opera Company\u003c/a> in Colorado commissioned him to write something short, something its younger singers could cut their teeth on. \u003c/p>\n\u003cp>“To our great shock it caught on like wildfire,” he says.\u003c/p>\n\u003cp>Mollicone, a South Bay local, doesn’t have an exact count as to how many times \u003ci>The Face on the Barroom Floor\u003c/i> has been performed since 1978, but it’s well north of 700. \u003c/p>\n\u003cp>“Unbelievable. We had no idea that it would become a popular work,” he says.\u003c/p>\n\u003cp>No, that’s not a common fate for most modern American operas, even for Mollicone, who’s written more than one popular work in a long, successful career as a composer. Mollicone suspects this opera’s enduring appeal is tied to the fact that it’s cheap to perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s only three instruments and three singers, and all you need is a set, the barroom set. Or even better, perform it in a barroom,” Mollicone says. \u003c/p>\n\u003cp>Also, there’s the engaging libretto by John Bowman, inspired by a locally-famous painting of a pretty woman’s face on the floor of a hotel bar near the Central City Opera House. The Denver artist who created it, Herndon Davis, was said to have used his wife Juanita as the model, but the concept was inspired by Hugh Antoine D’Arcy’s 1887 poem, \u003ca href=\"https://en.wikipedia.org/wiki/The_Face_upon_the_Barroom_Floor\" target=\"_blank\" rel=\"noopener\">\u003cem>The Face Upon the Floor\u003c/em>\u003c/a>. Here’s a wee excerpt to give you an idea:\u003c/p>\n\u003cdl>\n\u003cdd>\u003cem>Say boys, if you give me just another whiskey, I’ll be glad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And I’ll draw right here a picture, of the face that drove me mad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>Give me that piece of chalk with which you mark the baseball score\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And you shall see the lovely Madeline upon the barroom floor.\u003c/em>\u003c/dd>\n\u003c/dl>\n\u003cp>The poem, it must be said, is a little dated. But it wasn’t anything more than a loose inspiration for the opera. “We created our own story,” Mollicone says.\u003c/p>\n\u003cfigure id=\"attachment_13839328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg\" alt=\"The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John. \u003ccite>(Photo: Courtesy of Amanda Tipton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opera tells two tales, separated in time, and parallel in character and theme. The poem’s Madeline becomes a saloon girl in a 19th-century gold mining camp. Her modern counterpart, sung by the same singer, is Isabel, an ambitious up-and-comer in the Central City Opera chorus. Both are loved by two men, and as the opera moves between centuries, the parallel plots come to the same tragic end — all in less than half an hour.\u003c/p>\n\u003cp>Mollicone’s music is accessible, even to non-opera fans, as it draws liberally from jazz and musical theater. “It’s melodic. Like many of my operas, it has popular jazz elements woven into an operatic texture. I call a lot of my operatic works crossover pieces,” he says.\u003c/p>\n\u003cp>Barbara Day Turner and \u003ca href=\"https://www.danielhelfgot.com\" target=\"_blank\" rel=\"noopener\">Daniel Helfgot\u003c/a>, a super couple in the South Bay opera world working on the latest rendition of \u003cem>The Face\u003c/em>, agree. Turner is the founder and music director of the \u003ca href=\"https://sjco.org\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>, which is performing \u003ci>The Face on the Barroom Floor\u003c/i> at \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" target=\"_blank\" rel=\"noopener\">3Below Theaters\u003c/a>.\u003c/p>\n\u003cp>Helfgot is a stage director. “We love Henry Mollicone’s musical language. We’ve done at least three of his operas,” he says.\u003c/p>\n\u003cp>“He really is a treasure,” says Turner, who recalls performing \u003cem>Face on the Barroom Floor\u003c/em> roughly 30 years ago with \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>, back when the space \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a> now occupies was the Eulipia Restaurant and Bar.\u003c/p>\n\u003cp>If you’re thinking a half hour is rather short for a schlep to downtown San Jose, you’ll be pleased to hear there’s more to the evening than the opera. Its performance will be preceded by a selection of Mollicone’s other works, as well as a clip from a 2013 documentary, \u003cem>The Face On The Barroom Floor: The Poem, The Place, The Opera.\u003c/em>\u003cbr>\n[youtube https://www.youtube.com/watch?v=QnKiW8AP4CQ]\u003c/p>\n\u003cp>As for why Turner believes the opera hasn’t aged out of the opera world’s repertoire? “Human relationships and artistry: It’s a story that’s not tied to a time.”\u003c/p>\n\u003cp>Helfgot adds, “Most opera was written reflecting some contemporary issues. The fact that they survive the time is because the musical language is valuable. Most operas premiere and you never hear about them again. So the fact that [\u003cem>The\u003c/em> \u003cem>Face on the Barroom Floor\u003c/em>] has been around for forty years is a really good sign.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Face on the Barroom Floor\u003c/strong> plays August 24-26, 2018 at 3Below Theaters in San Jose. For more information, click \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" 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>Composer \u003ca href=\"http://henrymollicone.com\" target=\"_blank\" rel=\"noopener\">Henry Mollicone\u003c/a> was a young man 40 years ago when the \u003ca href=\"https://centralcityopera.org\" target=\"_blank\" rel=\"noopener\">Central City Opera Company\u003c/a> in Colorado commissioned him to write something short, something its younger singers could cut their teeth on. \u003c/p>\n\u003cp>“To our great shock it caught on like wildfire,” he says.\u003c/p>\n\u003cp>Mollicone, a South Bay local, doesn’t have an exact count as to how many times \u003ci>The Face on the Barroom Floor\u003c/i> has been performed since 1978, but it’s well north of 700. \u003c/p>\n\u003cp>“Unbelievable. We had no idea that it would become a popular work,” he says.\u003c/p>\n\u003cp>No, that’s not a common fate for most modern American operas, even for Mollicone, who’s written more than one popular work in a long, successful career as a composer. Mollicone suspects this opera’s enduring appeal is tied to the fact that it’s cheap to perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s only three instruments and three singers, and all you need is a set, the barroom set. Or even better, perform it in a barroom,” Mollicone says. \u003c/p>\n\u003cp>Also, there’s the engaging libretto by John Bowman, inspired by a locally-famous painting of a pretty woman’s face on the floor of a hotel bar near the Central City Opera House. The Denver artist who created it, Herndon Davis, was said to have used his wife Juanita as the model, but the concept was inspired by Hugh Antoine D’Arcy’s 1887 poem, \u003ca href=\"https://en.wikipedia.org/wiki/The_Face_upon_the_Barroom_Floor\" target=\"_blank\" rel=\"noopener\">\u003cem>The Face Upon the Floor\u003c/em>\u003c/a>. Here’s a wee excerpt to give you an idea:\u003c/p>\n\u003cdl>\n\u003cdd>\u003cem>Say boys, if you give me just another whiskey, I’ll be glad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And I’ll draw right here a picture, of the face that drove me mad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>Give me that piece of chalk with which you mark the baseball score\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And you shall see the lovely Madeline upon the barroom floor.\u003c/em>\u003c/dd>\n\u003c/dl>\n\u003cp>The poem, it must be said, is a little dated. But it wasn’t anything more than a loose inspiration for the opera. “We created our own story,” Mollicone says.\u003c/p>\n\u003cfigure id=\"attachment_13839328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg\" alt=\"The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John. \u003ccite>(Photo: Courtesy of Amanda Tipton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opera tells two tales, separated in time, and parallel in character and theme. The poem’s Madeline becomes a saloon girl in a 19th-century gold mining camp. Her modern counterpart, sung by the same singer, is Isabel, an ambitious up-and-comer in the Central City Opera chorus. Both are loved by two men, and as the opera moves between centuries, the parallel plots come to the same tragic end — all in less than half an hour.\u003c/p>\n\u003cp>Mollicone’s music is accessible, even to non-opera fans, as it draws liberally from jazz and musical theater. “It’s melodic. Like many of my operas, it has popular jazz elements woven into an operatic texture. I call a lot of my operatic works crossover pieces,” he says.\u003c/p>\n\u003cp>Barbara Day Turner and \u003ca href=\"https://www.danielhelfgot.com\" target=\"_blank\" rel=\"noopener\">Daniel Helfgot\u003c/a>, a super couple in the South Bay opera world working on the latest rendition of \u003cem>The Face\u003c/em>, agree. Turner is the founder and music director of the \u003ca href=\"https://sjco.org\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>, which is performing \u003ci>The Face on the Barroom Floor\u003c/i> at \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" target=\"_blank\" rel=\"noopener\">3Below Theaters\u003c/a>.\u003c/p>\n\u003cp>Helfgot is a stage director. “We love Henry Mollicone’s musical language. We’ve done at least three of his operas,” he says.\u003c/p>\n\u003cp>“He really is a treasure,” says Turner, who recalls performing \u003cem>Face on the Barroom Floor\u003c/em> roughly 30 years ago with \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>, back when the space \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a> now occupies was the Eulipia Restaurant and Bar.\u003c/p>\n\u003cp>If you’re thinking a half hour is rather short for a schlep to downtown San Jose, you’ll be pleased to hear there’s more to the evening than the opera. Its performance will be preceded by a selection of Mollicone’s other works, as well as a clip from a 2013 documentary, \u003cem>The Face On The Barroom Floor: The Poem, The Place, The Opera.\u003c/em>\u003cbr>\n\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/QnKiW8AP4CQ'\n title='//www.youtube.com/embed/QnKiW8AP4CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As for why Turner believes the opera hasn’t aged out of the opera world’s repertoire? “Human relationships and artistry: It’s a story that’s not tied to a time.”\u003c/p>\n\u003cp>Helfgot adds, “Most opera was written reflecting some contemporary issues. The fact that they survive the time is because the musical language is valuable. Most operas premiere and you never hear about them again. So the fact that [\u003cem>The\u003c/em> \u003cem>Face on the Barroom Floor\u003c/em>] has been around for forty years is a really good sign.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Face on the Barroom Floor\u003c/strong> plays August 24-26, 2018 at 3Below Theaters in San Jose. For more information, click \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" 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>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Queen of Soul' Aretha Franklin Dies at 76",
"headTitle": "‘Queen of Soul’ Aretha Franklin Dies at 76 | KQED",
"content": "\u003cp>Aretha Franklin, the undisputed “Queen of Soul” who sang with matchless style on such classics as “Think,” “I Say a Little Prayer” and her signature song, “Respect,” and stood as a cultural icon around the globe, has died at age 76 from pancreatic cancer.\u003c/p>\n\u003cp>Publicist Gwendolyn Quinn tells The Associated Press through a family statement that Franklin died Thursday at 9:50 a.m. at her home in Detroit. The statement said “Franklin’s official cause of death was due to advanced pancreatic cancer of the neuroendocrine type, which was confirmed by Franklin’s oncologist, Dr. Philip Phillips of Karmanos Cancer Institute” in Detroit.\u003c/p>\n\u003cp>The family added: “In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family. The love she had for her children, grandchildren, nieces, nephews, and cousins knew no bounds.”\u003c/p>\n\u003cp>The statement continued:\u003c/p>\n\u003cp>“We have been deeply touched by the incredible outpouring of love and support we have received from close friends, supporters and fans all around the world. Thank you for your compassion and prayers. We have felt your love for Aretha and it brings us comfort to know that her legacy will live on. As we grieve, we ask that you respect our privacy during this difficult time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Funeral arrangements will be announced in the coming days.\u003c/p>\n\u003cp>Franklin, who had battled undisclosed health issues in recent years, had in 2017 announced her retirement from touring.\u003c/p>\n\u003cfigure id=\"attachment_13839132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg\" alt='Aretha Franklin performs onstage during the \"Clive Davis: The Soundtrack of Our Lives\" Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13839132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin performs onstage during the “Clive Davis: The Soundtrack of Our Lives” Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. \u003ccite>(Noam Galai/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A professional singer and accomplished pianist by her late teens, a superstar by her mid-20s, Franklin had long ago settled any arguments over who was the greatest popular vocalist of her time. Her gifts, natural and acquired, were a multi-octave mezzo-soprano, gospel passion and training worthy of a preacher’s daughter, taste sophisticated and eccentric, and the courage to channel private pain into liberating song.\u003c/p>\n\u003cp>She recorded hundreds of tracks and had dozens of hits over the span of a half century, including 20 that reached No. 1 on the R&B charts. But her reputation was defined by an extraordinary run of top 10 smashes in the late 1960s, from the morning-after bliss of “(You Make Me Feel Like) A Natural Woman,” to the wised-up “Chain of Fools” to her unstoppable call for “Respect.”\u003c/p>\n\u003cp>Her records sold millions of copies and the music industry couldn’t honor her enough. Franklin won 18 Grammy awards. In 1987, she became the first woman inducted into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>Clive Davis, the music mogul who brought her to Arista Records and helped revive her career in the 1980s, said he was “devastated” by her death.\u003c/p>\n\u003cp>“She was truly one of a kind. She was more than the Queen of Soul. She was a national treasure to be cherished by every generation throughout the world,” he said in a statement. “Apart from our long professional relationship, Aretha was my friend. Her loss is deeply profound and my heart is full of sadness.”\u003c/p>\n\u003cp>Fellow singers bowed to her eminence and political and civic leaders treated her as a peer. The Rev. Martin Luther King Jr. was a longtime friend, and she sang at the dedication of King’s memorial, in 2011. She performed at the inaugurations of Presidents Bill Clinton and Jimmy Carter, and at the funeral for civil rights pioneer Rosa Parks. Clinton gave Franklin the National Medal of Arts. President George W. Bush awarded her the Presidential Medal of Freedom, the nation’s highest civilian honor, in 2005.\u003c/p>\n\u003cp>Bill and Hillary Clinton issued a statement mourning the loss of their friend and “one of America’s greatest treasures.”\u003c/p>\n\u003cp>“For more than 50 years, she stirred our souls. She was elegant, graceful, and utterly uncompromising in her artistry. Aretha’s first music school was the church and her performances were powered by what she learned there. I’ll always be grateful for her kindness and support, including her performances at both my inaugural celebrations, and for the chance to be there for what sadly turned out to be her final performance last November at a benefit supporting the fight against HIV/AIDS.”\u003c/p>\n\u003cp>Franklin’s best-known appearance with a president was in January 2009, when she sang “My Country ’tis of Thee” at President Barack Obama’s inauguration. She wore a gray felt hat with a huge, Swarovski rhinestone-bordered bow that became an Internet sensation and even had its own website. In 2015, she brought Obama and others to tears with a triumphant performance of “Natural Woman” at a Kennedy Center tribute to the song’s co-writer, Carole King.\u003c/p>\n\u003cp>Franklin endured the exhausting grind of celebrity and personal troubles dating back to childhood. She was married from 1961 to 1969 to her manager, Ted White, and their battles are widely believed to have inspired her performances on several songs, including “(Sweet Sweet Baby) Since You’ve Been Gone,” ″Think” and her heartbreaking ballad of despair, “Ain’t No Way.” The mother of two sons by age 16 (she later had two more), she was often in turmoil as she struggled with her weight, family problems and financial predicaments. Her best known producer, Jerry Wexler, nicknamed her “Our Lady of Mysterious Sorrows.”\u003c/p>\n\u003cp>https://youtu.be/Vyx34kgHGng\u003c/p>\n\u003cp>Franklin married actor Glynn Turman in 1978 in Los Angeles but returned to her hometown of Detroit the following year after her father was shot by burglars and left semi-comatose until his death in 1984. She and Turman divorced that year.\u003c/p>\n\u003cp>Despite growing up in Detroit, and having Smokey Robinson as a childhood friend, Franklin never recorded for Motown Records; stints with Columbia and Arista were sandwiched around her prime years with Atlantic Records. But it was at Detroit’s New Bethel Baptist Church, where her father was pastor, that Franklin learned the gospel fundamentals that would make her a soul institution.\u003c/p>\n\u003cp>Aretha Louise Franklin was born March 25, 1942, in Memphis, Tennessee. The Rev. C.L. Franklin soon moved his family to Buffalo, New York, then to Detroit, where the Franklins settled after the marriage of Aretha’s parents collapsed and her mother (and reputed sound-alike) Barbara returned to Buffalo.\u003c/p>\n\u003cp>C.L. Franklin was among the most prominent Baptist ministers of his time. He recorded dozens of albums of sermons and music and knew such gospel stars as Marion Williams and Clara Ward, who mentored Aretha and her sisters Carolyn and Erma. (Both sisters sang on Aretha’s records, and Carolyn also wrote “Ain’t No Way” and other songs for Aretha). Music was the family business and performers from Sam Cooke to Lou Rawls were guests at the Franklin house. In the living room, the shy young Aretha awed friends with her playing on the grand piano.\u003c/p>\n\u003cp>Franklin occasionally performed at New Bethel Baptist throughout her career; her 1987 gospel album “One Lord One Faith One Baptism” was recorded live at the church.\u003c/p>\n\u003cp>Her most acclaimed gospel recording came in 1972 with the Grammy-winning album “Amazing Grace,” which was recorded live at New Temple Missionary Baptist Church in South Central Los Angeles and featured gospel legend James Cleveland, along with her own father (Mick Jagger was one of the celebrities in the audience). It became one of of the best-selling gospel albums ever.\u003c/p>\n\u003cp>The piano she began learning at age 8 became a jazzy component of much of her work, including arranging as well as songwriting. “If I’m writing and I’m producing and singing, too, you get more of me that way, rather than having four or five different people working on one song,” Franklin told The Detroit News in 2003.\u003c/p>\n\u003cp>Franklin was in her early teens when she began touring with her father, and she released a gospel album in 1956 through J-V-B Records. Four years later, she signed with Columbia Records producer John Hammond, who called Franklin the most exciting singer he had heard since a vocalist he promoted decades earlier, Billie Holiday. Franklin knew Motown founder Berry Gordy Jr. and considered joining his label, but decided it was just a local company at the time.\u003c/p>\n\u003cp>Franklin recorded several albums for Columbia Records over the next six years. She had a handful of minor hits, including “Rock-A-Bye Your Baby With a Dixie Melody” and “Runnin’ Out of Fools,” but never quite caught on as the label tried to fit into her a variety of styles, from jazz and show songs to such pop numbers as “Mockingbird.” Franklin jumped to Atlantic Records when her contract ran out, in 1966.\u003c/p>\n\u003cp>“But the years at Columbia also taught her several important things,” critic Russell Gersten later wrote. “She worked hard at controlling and modulating her phrasing, giving her a discipline that most other soul singers lacked. She also developed a versatility with mainstream music that gave her later albums a breadth that was lacking on Motown LPs from the same period.\u003c/p>\n\u003cp>“Most important, she learned what she didn’t like: to do what she was told to do.”\u003c/p>\n\u003cp>At Atlantic, Wexler teamed her with veteran R&B musicians from Fame Studios in Muscle Shoals, and the result was a tougher, soulful sound, with call-and-response vocals and Franklin’s gospel-style piano, which anchored “I Say a Little Prayer,” ″Natural Woman” and others.\u003c/p>\n\u003cp>https://youtu.be/n0POmdK18WU\u003c/p>\n\u003cp>Of Franklin’s dozens of hits, none was linked more firmly to her than the funky, horn-led march “Respect” and its spelled out demand for “R-E-S-P-E-C-T.”\u003c/p>\n\u003cp>Writing in Rolling Stone magazine in 2004, Wexler said: “It was an appeal for dignity combined with a blatant lubricity. There are songs that are a call to action. There are love songs. There are sex songs. But it’s hard to think of another song where all those elements are combined.”\u003c/p>\n\u003cp>Franklin had decided she wanted to “embellish” the R&B song written by Otis Redding, whose version had been a modest hit in 1965, Wexler said.\u003c/p>\n\u003cp>“When she walked into the studio, it was already worked out in her head,” the producer wrote. “Otis came up to my office right before ‘Respect’ was released, and I played him the tape. He said, ‘She done took my song.’ He said it benignly and ruefully. He knew the identity of the song was slipping away from him to her.”\u003c/p>\n\u003cp>In a 2004 interview with the St. Petersburg (Florida) Times, Franklin was asked whether she sensed in the ’60s that she was helping change popular music.\u003c/p>\n\u003cp>“Somewhat, certainly with ‘Respect,’ that was a battle cry for freedom and many people of many ethnicities took pride in that word,” she answered. “It was meaningful to all of us.”\u003c/p>\n\u003cp>In 1968, Franklin was pictured on the cover of Time magazine and had more than 10 Top 20 hits in 1967 and 1968. At a time of rebellion and division, Franklin’s records were a musical union of the church and the secular, man and woman, black and white, North and South, East and West. They were produced and engineered by New Yorkers Wexler and Tom Dowd, arranged by Turkish-born Arif Mardin and backed by an interracial assembly of top session musicians based mostly in Alabama.\u003c/p>\n\u003cp>Her popularity faded during the 1970s despite such hits as the funky “Rock Steady” and such acclaimed albums as the intimate “Spirit in the Dark.” But her career was revived in 1980 with a cameo appearance in the smash movie “The Blues Brothers” and her switch to Arista Records. Franklin collaborated with such pop and soul artists as Luther Vandross, Elton John, Whitney Houston and George Michael, with whom she recorded a No. 1 single, “I Knew You Were Waiting (for Me).” Her 1985 album “Who’s Zoomin’ Who” received some of her best reviews and included such hits as the title track and “Freeway of Love.”\u003c/p>\n\u003cp>Critics consistently praised Franklin’s singing but sometimes questioned her material; she covered songs by Stephen Sondheim, Bread, the Doobie Brothers. For Aretha, anything she performed was “soul.”\u003c/p>\n\u003cp>From her earliest recording sessions at Columbia, when she asked to sing “Over the Rainbow,” she defied category. The 1998 Grammys gave her a chance to demonstrate her range. Franklin performed “Respect,” then, with only a few minutes’ notice, filled in for an ailing Luciano Pavarotti and drew rave reviews for her rendition of “Nessun Dorma,” a stirring aria for tenors from Puccini’s “Turandot.”\u003c/p>\n\u003cp>“I’m sure many people were surprised, but I’m not there to prove anything,” Franklin told The Associated Press. “Not necessary.”\u003c/p>\n\u003cp>Fame never eclipsed Franklin’s charitable works, or her loyalty to Detroit.\u003c/p>\n\u003cp>Franklin sang the national anthem at Super Bowl in her hometown in 2006, after grousing that Detroit’s rich musical legacy was being snubbed when the Rolling Stones were chosen as halftime performers.\u003c/p>\n\u003cp>“I didn’t think there was enough (Detroit representation) by any means,” she said. “And it was my feeling, ‘How dare you come to Detroit, a city of legends — musical legends, plural — and not ask one or two of them to participate?’ That’s not the way it should be.”\u003c/p>\n\u003cp>Franklin did most of her extensive touring by bus after Redding’s death in a 1967 plane crash, and a rough flight to Detroit in 1982 left her with a fear of flying that anti-anxiety tapes and classes couldn’t help. She told Time in 1998 that the custom bus was a comfortable alternative: “You can pull over, go to Red Lobster. You can’t pull over at 35,000 feet.”\u003c/p>\n\u003cp>She only released a few albums over the past two decades, including “A Rose is Still a Rose,” which featured songs by Sean “Diddy” Combs, Lauryn Hill and other contemporary artists, and “So Damn Happy,” for which Franklin wrote the gratified title ballad. Franklin’s autobiography, “Aretha: From These Roots,” came out in 1999, when she was in her 50s. But she always made it clear that her story would continue.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Music is my thing, it’s who I am. I’m in it for the long run,” she told The Associated Press in 2008. “I’ll be around, singing, ‘What you want, baby I got it.’ Having fun all the way.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aretha Franklin, the undisputed “Queen of Soul” who sang with matchless style on such classics as “Think,” “I Say a Little Prayer” and her signature song, “Respect,” and stood as a cultural icon around the globe, has died at age 76 from pancreatic cancer.\u003c/p>\n\u003cp>Publicist Gwendolyn Quinn tells The Associated Press through a family statement that Franklin died Thursday at 9:50 a.m. at her home in Detroit. The statement said “Franklin’s official cause of death was due to advanced pancreatic cancer of the neuroendocrine type, which was confirmed by Franklin’s oncologist, Dr. Philip Phillips of Karmanos Cancer Institute” in Detroit.\u003c/p>\n\u003cp>The family added: “In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family. The love she had for her children, grandchildren, nieces, nephews, and cousins knew no bounds.”\u003c/p>\n\u003cp>The statement continued:\u003c/p>\n\u003cp>“We have been deeply touched by the incredible outpouring of love and support we have received from close friends, supporters and fans all around the world. Thank you for your compassion and prayers. We have felt your love for Aretha and it brings us comfort to know that her legacy will live on. As we grieve, we ask that you respect our privacy during this difficult time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Funeral arrangements will be announced in the coming days.\u003c/p>\n\u003cp>Franklin, who had battled undisclosed health issues in recent years, had in 2017 announced her retirement from touring.\u003c/p>\n\u003cfigure id=\"attachment_13839132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg\" alt='Aretha Franklin performs onstage during the \"Clive Davis: The Soundtrack of Our Lives\" Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13839132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin performs onstage during the “Clive Davis: The Soundtrack of Our Lives” Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. \u003ccite>(Noam Galai/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A professional singer and accomplished pianist by her late teens, a superstar by her mid-20s, Franklin had long ago settled any arguments over who was the greatest popular vocalist of her time. Her gifts, natural and acquired, were a multi-octave mezzo-soprano, gospel passion and training worthy of a preacher’s daughter, taste sophisticated and eccentric, and the courage to channel private pain into liberating song.\u003c/p>\n\u003cp>She recorded hundreds of tracks and had dozens of hits over the span of a half century, including 20 that reached No. 1 on the R&B charts. But her reputation was defined by an extraordinary run of top 10 smashes in the late 1960s, from the morning-after bliss of “(You Make Me Feel Like) A Natural Woman,” to the wised-up “Chain of Fools” to her unstoppable call for “Respect.”\u003c/p>\n\u003cp>Her records sold millions of copies and the music industry couldn’t honor her enough. Franklin won 18 Grammy awards. In 1987, she became the first woman inducted into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>Clive Davis, the music mogul who brought her to Arista Records and helped revive her career in the 1980s, said he was “devastated” by her death.\u003c/p>\n\u003cp>“She was truly one of a kind. She was more than the Queen of Soul. She was a national treasure to be cherished by every generation throughout the world,” he said in a statement. “Apart from our long professional relationship, Aretha was my friend. Her loss is deeply profound and my heart is full of sadness.”\u003c/p>\n\u003cp>Fellow singers bowed to her eminence and political and civic leaders treated her as a peer. The Rev. Martin Luther King Jr. was a longtime friend, and she sang at the dedication of King’s memorial, in 2011. She performed at the inaugurations of Presidents Bill Clinton and Jimmy Carter, and at the funeral for civil rights pioneer Rosa Parks. Clinton gave Franklin the National Medal of Arts. President George W. Bush awarded her the Presidential Medal of Freedom, the nation’s highest civilian honor, in 2005.\u003c/p>\n\u003cp>Bill and Hillary Clinton issued a statement mourning the loss of their friend and “one of America’s greatest treasures.”\u003c/p>\n\u003cp>“For more than 50 years, she stirred our souls. She was elegant, graceful, and utterly uncompromising in her artistry. Aretha’s first music school was the church and her performances were powered by what she learned there. I’ll always be grateful for her kindness and support, including her performances at both my inaugural celebrations, and for the chance to be there for what sadly turned out to be her final performance last November at a benefit supporting the fight against HIV/AIDS.”\u003c/p>\n\u003cp>Franklin’s best-known appearance with a president was in January 2009, when she sang “My Country ’tis of Thee” at President Barack Obama’s inauguration. She wore a gray felt hat with a huge, Swarovski rhinestone-bordered bow that became an Internet sensation and even had its own website. In 2015, she brought Obama and others to tears with a triumphant performance of “Natural Woman” at a Kennedy Center tribute to the song’s co-writer, Carole King.\u003c/p>\n\u003cp>Franklin endured the exhausting grind of celebrity and personal troubles dating back to childhood. She was married from 1961 to 1969 to her manager, Ted White, and their battles are widely believed to have inspired her performances on several songs, including “(Sweet Sweet Baby) Since You’ve Been Gone,” ″Think” and her heartbreaking ballad of despair, “Ain’t No Way.” The mother of two sons by age 16 (she later had two more), she was often in turmoil as she struggled with her weight, family problems and financial predicaments. Her best known producer, Jerry Wexler, nicknamed her “Our Lady of Mysterious Sorrows.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Vyx34kgHGng'\n title='//www.youtube.com/embed/Vyx34kgHGng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Franklin married actor Glynn Turman in 1978 in Los Angeles but returned to her hometown of Detroit the following year after her father was shot by burglars and left semi-comatose until his death in 1984. She and Turman divorced that year.\u003c/p>\n\u003cp>Despite growing up in Detroit, and having Smokey Robinson as a childhood friend, Franklin never recorded for Motown Records; stints with Columbia and Arista were sandwiched around her prime years with Atlantic Records. But it was at Detroit’s New Bethel Baptist Church, where her father was pastor, that Franklin learned the gospel fundamentals that would make her a soul institution.\u003c/p>\n\u003cp>Aretha Louise Franklin was born March 25, 1942, in Memphis, Tennessee. The Rev. C.L. Franklin soon moved his family to Buffalo, New York, then to Detroit, where the Franklins settled after the marriage of Aretha’s parents collapsed and her mother (and reputed sound-alike) Barbara returned to Buffalo.\u003c/p>\n\u003cp>C.L. Franklin was among the most prominent Baptist ministers of his time. He recorded dozens of albums of sermons and music and knew such gospel stars as Marion Williams and Clara Ward, who mentored Aretha and her sisters Carolyn and Erma. (Both sisters sang on Aretha’s records, and Carolyn also wrote “Ain’t No Way” and other songs for Aretha). Music was the family business and performers from Sam Cooke to Lou Rawls were guests at the Franklin house. In the living room, the shy young Aretha awed friends with her playing on the grand piano.\u003c/p>\n\u003cp>Franklin occasionally performed at New Bethel Baptist throughout her career; her 1987 gospel album “One Lord One Faith One Baptism” was recorded live at the church.\u003c/p>\n\u003cp>Her most acclaimed gospel recording came in 1972 with the Grammy-winning album “Amazing Grace,” which was recorded live at New Temple Missionary Baptist Church in South Central Los Angeles and featured gospel legend James Cleveland, along with her own father (Mick Jagger was one of the celebrities in the audience). It became one of of the best-selling gospel albums ever.\u003c/p>\n\u003cp>The piano she began learning at age 8 became a jazzy component of much of her work, including arranging as well as songwriting. “If I’m writing and I’m producing and singing, too, you get more of me that way, rather than having four or five different people working on one song,” Franklin told The Detroit News in 2003.\u003c/p>\n\u003cp>Franklin was in her early teens when she began touring with her father, and she released a gospel album in 1956 through J-V-B Records. Four years later, she signed with Columbia Records producer John Hammond, who called Franklin the most exciting singer he had heard since a vocalist he promoted decades earlier, Billie Holiday. Franklin knew Motown founder Berry Gordy Jr. and considered joining his label, but decided it was just a local company at the time.\u003c/p>\n\u003cp>Franklin recorded several albums for Columbia Records over the next six years. She had a handful of minor hits, including “Rock-A-Bye Your Baby With a Dixie Melody” and “Runnin’ Out of Fools,” but never quite caught on as the label tried to fit into her a variety of styles, from jazz and show songs to such pop numbers as “Mockingbird.” Franklin jumped to Atlantic Records when her contract ran out, in 1966.\u003c/p>\n\u003cp>“But the years at Columbia also taught her several important things,” critic Russell Gersten later wrote. “She worked hard at controlling and modulating her phrasing, giving her a discipline that most other soul singers lacked. She also developed a versatility with mainstream music that gave her later albums a breadth that was lacking on Motown LPs from the same period.\u003c/p>\n\u003cp>“Most important, she learned what she didn’t like: to do what she was told to do.”\u003c/p>\n\u003cp>At Atlantic, Wexler teamed her with veteran R&B musicians from Fame Studios in Muscle Shoals, and the result was a tougher, soulful sound, with call-and-response vocals and Franklin’s gospel-style piano, which anchored “I Say a Little Prayer,” ″Natural Woman” and others.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n0POmdK18WU'\n title='//www.youtube.com/embed/n0POmdK18WU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of Franklin’s dozens of hits, none was linked more firmly to her than the funky, horn-led march “Respect” and its spelled out demand for “R-E-S-P-E-C-T.”\u003c/p>\n\u003cp>Writing in Rolling Stone magazine in 2004, Wexler said: “It was an appeal for dignity combined with a blatant lubricity. There are songs that are a call to action. There are love songs. There are sex songs. But it’s hard to think of another song where all those elements are combined.”\u003c/p>\n\u003cp>Franklin had decided she wanted to “embellish” the R&B song written by Otis Redding, whose version had been a modest hit in 1965, Wexler said.\u003c/p>\n\u003cp>“When she walked into the studio, it was already worked out in her head,” the producer wrote. “Otis came up to my office right before ‘Respect’ was released, and I played him the tape. He said, ‘She done took my song.’ He said it benignly and ruefully. He knew the identity of the song was slipping away from him to her.”\u003c/p>\n\u003cp>In a 2004 interview with the St. Petersburg (Florida) Times, Franklin was asked whether she sensed in the ’60s that she was helping change popular music.\u003c/p>\n\u003cp>“Somewhat, certainly with ‘Respect,’ that was a battle cry for freedom and many people of many ethnicities took pride in that word,” she answered. “It was meaningful to all of us.”\u003c/p>\n\u003cp>In 1968, Franklin was pictured on the cover of Time magazine and had more than 10 Top 20 hits in 1967 and 1968. At a time of rebellion and division, Franklin’s records were a musical union of the church and the secular, man and woman, black and white, North and South, East and West. They were produced and engineered by New Yorkers Wexler and Tom Dowd, arranged by Turkish-born Arif Mardin and backed by an interracial assembly of top session musicians based mostly in Alabama.\u003c/p>\n\u003cp>Her popularity faded during the 1970s despite such hits as the funky “Rock Steady” and such acclaimed albums as the intimate “Spirit in the Dark.” But her career was revived in 1980 with a cameo appearance in the smash movie “The Blues Brothers” and her switch to Arista Records. Franklin collaborated with such pop and soul artists as Luther Vandross, Elton John, Whitney Houston and George Michael, with whom she recorded a No. 1 single, “I Knew You Were Waiting (for Me).” Her 1985 album “Who’s Zoomin’ Who” received some of her best reviews and included such hits as the title track and “Freeway of Love.”\u003c/p>\n\u003cp>Critics consistently praised Franklin’s singing but sometimes questioned her material; she covered songs by Stephen Sondheim, Bread, the Doobie Brothers. For Aretha, anything she performed was “soul.”\u003c/p>\n\u003cp>From her earliest recording sessions at Columbia, when she asked to sing “Over the Rainbow,” she defied category. The 1998 Grammys gave her a chance to demonstrate her range. Franklin performed “Respect,” then, with only a few minutes’ notice, filled in for an ailing Luciano Pavarotti and drew rave reviews for her rendition of “Nessun Dorma,” a stirring aria for tenors from Puccini’s “Turandot.”\u003c/p>\n\u003cp>“I’m sure many people were surprised, but I’m not there to prove anything,” Franklin told The Associated Press. “Not necessary.”\u003c/p>\n\u003cp>Fame never eclipsed Franklin’s charitable works, or her loyalty to Detroit.\u003c/p>\n\u003cp>Franklin sang the national anthem at Super Bowl in her hometown in 2006, after grousing that Detroit’s rich musical legacy was being snubbed when the Rolling Stones were chosen as halftime performers.\u003c/p>\n\u003cp>“I didn’t think there was enough (Detroit representation) by any means,” she said. “And it was my feeling, ‘How dare you come to Detroit, a city of legends — musical legends, plural — and not ask one or two of them to participate?’ That’s not the way it should be.”\u003c/p>\n\u003cp>Franklin did most of her extensive touring by bus after Redding’s death in a 1967 plane crash, and a rough flight to Detroit in 1982 left her with a fear of flying that anti-anxiety tapes and classes couldn’t help. She told Time in 1998 that the custom bus was a comfortable alternative: “You can pull over, go to Red Lobster. You can’t pull over at 35,000 feet.”\u003c/p>\n\u003cp>She only released a few albums over the past two decades, including “A Rose is Still a Rose,” which featured songs by Sean “Diddy” Combs, Lauryn Hill and other contemporary artists, and “So Damn Happy,” for which Franklin wrote the gratified title ballad. Franklin’s autobiography, “Aretha: From These Roots,” came out in 1999, when she was in her 50s. But she always made it clear that her story would continue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hiero Day, Oakland rap crew Hieroglyphics’ homegrown festival, is back for its seventh edition on Labor Day, Sept. 3—this time at the corner of Third Street and Martin Luther King Jr. Way near Oakland’s Jack London Square. [contextly_sidebar id=”x7A9YTP4nM22CZC8Na2gGeJjl4niK89M”]\u003c/p>\n\u003cp>The fest started as a block party and relocated last year to American Steel Studios in West Oakland, the former site of another homegrown music fest, Feels. The American Steel building sold and Hiero Day is back to its street party format.\u003c/p>\n\u003cp>Per usual, the lineup features up-and-coming locals, local legends and a few big names from out of town. This year’s heavy hitters include The Roots’ Black Thought, “Runnin'” MCs The Pharcyde, Cash Money Records producer Mannie Fresh and Freddie Gibbs.\u003c/p>\n\u003cp>Young Gully, one of Oakland’s hardest-working MCs, is featured on this year’s lineup, as well as Guapdad4000, the “Scamboy” rapper and internet class clown. DJs Shellheart and Red Corvette, both rising stars in the Oakland nightlife scene, will be behind the decks, as well as producers DJ Fresh and Traxamillion—who are both responsible for some of the most recognizable beats to come out of the hyphy movement.\u003c/p>\n\u003cp>Check out the full lineup below and more info \u003ca href=\"https://www.eventbrite.com/e/7th-annual-hiero-day-music-festival-tickets-48624711822\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/YoungGully/status/1029443762978582528\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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