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The 25 works — a mix of singles, field recordings, albums and soundtracks — represent myriad genres and time periods, and bring the Registry’s overall catalog up to 500 entries.\u003c/p>\n\u003cp>From pop, the class includes \u003ca href=\"https://www.npr.org/artists/15367096/the-temptations\">The Temptations\u003c/a>‘ 1965 hit single “My Girl”; \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\">Tony Bennett\u003c/a>‘s 1962 love song “I Left My Heart in San Francisco”; the soundtrack to \u003cem>The Sound of Music\u003c/em>; \u003ca href=\"https://www.npr.org/artists/141243619/harry-belafonte\">Harry Belafonte\u003c/a>‘s 1965 album \u003cem>Calypso\u003c/em>; Arlo Guthrie’s 1967 anti-war monologue “Alice’s Restaurant Massacree”; the 1967 compilation \u003cem>New Sounds in Electronic Music\u003c/em>, which included separate works from Steve Reich, Richard Maxfield and \u003ca href=\"https://www.npr.org/2017/07/24/538378166/turning-the-tables-150-greatest-albums-made-by-women-page-3\">Pauline Oliveros\u003c/a>; Chic’s indelible disco hit “Le Freak” from 1978; and \u003ca href=\"https://www.npr.org/artists/15770433/run-d-m-c\">Run-D.M.C.\u003c/a>‘s 1986 album \u003cem>Raising Hell.\u003c/em>\u003c/p>\n\u003cp>Other timeless inductions run the gamut from Arthur Schnabel’s \u003cem>The Complete \u003c/em>\u003ca href=\"https://www.npr.org/artists/15232481/ludwig-van-beethoven\">\u003cem>Beethoven\u003c/em>\u003c/a>\u003cem> Piano Sonatas\u003c/em> (1932-1935), the works’ first recordings, to historical field recordings of songs, preserved on wax cylinders by George Herzog in 1928, from the Sioux’s Yanktonai-Dakota band. The cylinders captured songs of the band following its relocation to \u003ca href=\"https://www.npr.org/tags/492631448/standing-rock-sioux-tribe\">Standing Rock Reservation\u003c/a> (near the site of the protracted Dakota Access Pipeline protests) and songs recalled from times prior to establishment of the reservation. The 1930 bolero folk song “Lamento Borincano” gave a voice to the plight of Puerto Rico’s farming community during the Great Depression. NBC’s two-month radio series covering the United Nations Conference on International Organization, which took place in San Francisco between April and June, 1945, gives a fly-on-the-wall account of how the United Nations’ charter was created.\u003c/p>\n\u003cp> The 2017 inductees are listed chronologically below. \u003c/p>\n\u003cp>“Dream Melody Intermezzo: Naughty Marietta” (single), Victor Herbert and his Orchestra (1911)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Standing Rock Preservation Recordings, George Herzog and Members of the Yanktoni Tribe (1928)\u003c/p>\n\u003cp>“Lamento Borincano” (single), Canario y Su Grupo (1930)\u003c/p>\n\u003cp>“Sitting on Top of the World” (single), Mississippi Sheiks (1930) \u003c/p>\n\u003cp>\u003cem>The Complete Beethoven Piano Sonatas\u003c/em> (album), Artur Schnabel (1932-1935)\u003c/p>\n\u003cp>“If I Didn’t Care” (single), The Ink Spots (1939) \u003c/p>\n\u003cp>Proceedings of the United Nations Conference on International Organization (4/25/45-6/26/45)\u003c/p>\n\u003cp>\u003cem>Folk Songs of the Hills\u003c/em> (album), Merle Travis (1946)\u003c/p>\n\u003cp>“How I Got Over” (single), Clara Ward and the Ward Singers (1950) \u003c/p>\n\u003cp> “(We’re Gonna) Rock Around the Clock” (single), Bill Haley and His Comets (1954) \u003c/p>\n\u003cp>\u003cem>Calypso\u003c/em> (album), Harry Belafonte (1956) album\u003c/p>\n\u003cp>“I Left My Heart in San Francisco” (single), Tony Bennett (1962)\u003c/p>\n\u003cp>“King Biscuit Time” (radio), Sonny Boy Williamson II and others (1965) \u003c/p>\n\u003cp>“My Girl” (single), The Temptations (1964)\u003c/p>\n\u003cp>\u003cem>The Sound of Music \u003c/em>(soundtrack), Various (1965)\u003c/p>\n\u003cp>“Alice’s Restaurant Massacree” (single), Arlo Guthrie (1967)\u003c/p>\n\u003cp>\u003cem>New Sounds in Electronic Music\u003c/em> (album), Steve Reich, Richard Maxfield, Pauline Oliveros (1967) \u003c/p>\n\u003cp>\u003cem>An Evening with Groucho\u003c/em> (album), Groucho Marx (1972) \u003c/p>\n\u003cp>\u003cem>Rumours\u003c/em>, (album), Fleetwood Mac (1977)\u003c/p>\n\u003cp>“The Gambler” (single), Kenny Rogers (1978) \u003c/p>\n\u003cp>“Le Freak” (single), Chic (1978) \u003c/p>\n\u003cp>“Footloose” (single), Kenny Loggins (1984) remake released in 2011. \u003c/p>\n\u003cp>\u003cem>Raising Hell\u003c/em> (album), Run-DMC (1986) \u003c/p>\n\u003cp>“Rhythm Is Gonna Get You” (single), Gloria Estefan and the Miami Sound Machine (1987)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Yo-Yo Ma Premieres: Concertos for Violoncello and Orchestra\u003c/em> (album), Various (1996) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Run-DMC%2C+Pauline+Oliveros%2C+%27Rumours%2C%27+Chic+And+Beethoven+Added+To+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Library of Congress has shared its latest batch of musical inductees to the \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Recording Registry\u003c/a>. The 25 works — a mix of singles, field recordings, albums and soundtracks — represent myriad genres and time periods, and bring the Registry’s overall catalog up to 500 entries.\u003c/p>\n\u003cp>From pop, the class includes \u003ca href=\"https://www.npr.org/artists/15367096/the-temptations\">The Temptations\u003c/a>‘ 1965 hit single “My Girl”; \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\">Tony Bennett\u003c/a>‘s 1962 love song “I Left My Heart in San Francisco”; the soundtrack to \u003cem>The Sound of Music\u003c/em>; \u003ca href=\"https://www.npr.org/artists/141243619/harry-belafonte\">Harry Belafonte\u003c/a>‘s 1965 album \u003cem>Calypso\u003c/em>; Arlo Guthrie’s 1967 anti-war monologue “Alice’s Restaurant Massacree”; the 1967 compilation \u003cem>New Sounds in Electronic Music\u003c/em>, which included separate works from Steve Reich, Richard Maxfield and \u003ca href=\"https://www.npr.org/2017/07/24/538378166/turning-the-tables-150-greatest-albums-made-by-women-page-3\">Pauline Oliveros\u003c/a>; Chic’s indelible disco hit “Le Freak” from 1978; and \u003ca href=\"https://www.npr.org/artists/15770433/run-d-m-c\">Run-D.M.C.\u003c/a>‘s 1986 album \u003cem>Raising Hell.\u003c/em>\u003c/p>\n\u003cp>Other timeless inductions run the gamut from Arthur Schnabel’s \u003cem>The Complete \u003c/em>\u003ca href=\"https://www.npr.org/artists/15232481/ludwig-van-beethoven\">\u003cem>Beethoven\u003c/em>\u003c/a>\u003cem> Piano Sonatas\u003c/em> (1932-1935), the works’ first recordings, to historical field recordings of songs, preserved on wax cylinders by George Herzog in 1928, from the Sioux’s Yanktonai-Dakota band. The cylinders captured songs of the band following its relocation to \u003ca href=\"https://www.npr.org/tags/492631448/standing-rock-sioux-tribe\">Standing Rock Reservation\u003c/a> (near the site of the protracted Dakota Access Pipeline protests) and songs recalled from times prior to establishment of the reservation. The 1930 bolero folk song “Lamento Borincano” gave a voice to the plight of Puerto Rico’s farming community during the Great Depression. NBC’s two-month radio series covering the United Nations Conference on International Organization, which took place in San Francisco between April and June, 1945, gives a fly-on-the-wall account of how the United Nations’ charter was created.\u003c/p>\n\u003cp> The 2017 inductees are listed chronologically below. \u003c/p>\n\u003cp>“Dream Melody Intermezzo: Naughty Marietta” (single), Victor Herbert and his Orchestra (1911)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Standing Rock Preservation Recordings, George Herzog and Members of the Yanktoni Tribe (1928)\u003c/p>\n\u003cp>“Lamento Borincano” (single), Canario y Su Grupo (1930)\u003c/p>\n\u003cp>“Sitting on Top of the World” (single), Mississippi Sheiks (1930) \u003c/p>\n\u003cp>\u003cem>The Complete Beethoven Piano Sonatas\u003c/em> (album), Artur Schnabel (1932-1935)\u003c/p>\n\u003cp>“If I Didn’t Care” (single), The Ink Spots (1939) \u003c/p>\n\u003cp>Proceedings of the United Nations Conference on International Organization (4/25/45-6/26/45)\u003c/p>\n\u003cp>\u003cem>Folk Songs of the Hills\u003c/em> (album), Merle Travis (1946)\u003c/p>\n\u003cp>“How I Got Over” (single), Clara Ward and the Ward Singers (1950) \u003c/p>\n\u003cp> “(We’re Gonna) Rock Around the Clock” (single), Bill Haley and His Comets (1954) \u003c/p>\n\u003cp>\u003cem>Calypso\u003c/em> (album), Harry Belafonte (1956) album\u003c/p>\n\u003cp>“I Left My Heart in San Francisco” (single), Tony Bennett (1962)\u003c/p>\n\u003cp>“King Biscuit Time” (radio), Sonny Boy Williamson II and others (1965) \u003c/p>\n\u003cp>“My Girl” (single), The Temptations (1964)\u003c/p>\n\u003cp>\u003cem>The Sound of Music \u003c/em>(soundtrack), Various (1965)\u003c/p>\n\u003cp>“Alice’s Restaurant Massacree” (single), Arlo Guthrie (1967)\u003c/p>\n\u003cp>\u003cem>New Sounds in Electronic Music\u003c/em> (album), Steve Reich, Richard Maxfield, Pauline Oliveros (1967) \u003c/p>\n\u003cp>\u003cem>An Evening with Groucho\u003c/em> (album), Groucho Marx (1972) \u003c/p>\n\u003cp>\u003cem>Rumours\u003c/em>, (album), Fleetwood Mac (1977)\u003c/p>\n\u003cp>“The Gambler” (single), Kenny Rogers (1978) \u003c/p>\n\u003cp>“Le Freak” (single), Chic (1978) \u003c/p>\n\u003cp>“Footloose” (single), Kenny Loggins (1984) remake released in 2011. \u003c/p>\n\u003cp>\u003cem>Raising Hell\u003c/em> (album), Run-DMC (1986) \u003c/p>\n\u003cp>“Rhythm Is Gonna Get You” (single), Gloria Estefan and the Miami Sound Machine (1987)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Yo-Yo Ma Premieres: Concertos for Violoncello and Orchestra\u003c/em> (album), Various (1996) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Run-DMC%2C+Pauline+Oliveros%2C+%27Rumours%2C%27+Chic+And+Beethoven+Added+To+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "gaming-has-many-visually-impaired-fans-why-not-serve-them-better",
"title": "Gaming Has Many Visually Impaired Fans. Why Not Serve Them Better?",
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"content": "\u003cp>A few years ago, \u003ca href=\"https://www.ea.com/able/resources/madden/madden-18\" target=\"_blank\" rel=\"noopener\">\u003cem>Madden NFL\u003c/em>\u003c/a> graphics developer Karen Stevens won a “game jam” — or hackathon — at the video game company \u003ca href=\"https://www.ea.com\" target=\"_blank\" rel=\"noopener\">Electronic Arts\u003c/a>.\u003c/p>\n\u003cp>Her pitch: tweak the code to make it possible to adjust, brightness and contrast controls, opt for bigger menu icons and change the colors — you know, for people who are colorblind. “Turns out one out of 12 men are colorblind, and one out of 200 women,” Stevens says. “There are probably half a million color-blind Madden players, so it really makes an impact.”\u003c/p>\n\u003cp>As the \u003ca href=\"http://www.gdconf.com\" target=\"_blank\" rel=\"noopener\">Game Developers Conference\u003c/a> packs the streets of downtown San Francisco this week, let’s take a moment to assess how the industry is addressing \u003ca href=\"http://schedule.gdconf.com/search/diversity\" target=\"_blank\" rel=\"noopener\">diversity\u003c/a> from an accessibility perspective.\u003c/p>\n\u003cp>As surprising as it may seem, given the visually intensive nature of most games today, there are visually impaired people all over the world playing games — whether they were designed with them in mind or not.\u003c/p>\n\u003cp>Four years after that hackathon, Stevens is now EA’s Sports Accessibility Lead, making sure accessibility is “baked in” to product development from the start.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stevens also spreads the gospel by giving talks at conferences. “\u003ca href=\"https://www.gdcvault.com/play/1024114/Game-Accessibility-Practical-Visual-Fixes\" target=\"_blank\" rel=\"noopener\">It’s a mindset, not a feature\u003c/a>,” she told last year’s GDC. It really should be considered in every step of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13827553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827553\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png\" alt='\"It’s not a universal thing yet, but I do see progress all around,\" says EA’s Sports Accessibility Lead Karen Stevens.' width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-768x501.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-240x156.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-375x244.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-520x339.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s not a universal thing yet, but I do see progress all around,” says EA’s Sports Accessibility Lead Karen Stevens. \u003ccite>(Photo: Courtesy of GDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, she also spoke at \u003ca href=\"https://www.gaconf.com\" target=\"_blank\" rel=\"noopener\">#GAconf\u003c/a>, a conference totally focused on accessibility that was held Monday in San Francisco.\u003c/p>\n\u003cp>“Just because a game isn’t designed to be accessible, doesn’t mean people can’t play it. Like, when I started my role, people were already playing EA games — blind. They just didn’t have any support, so they would struggle with things, but they would still play.”\u003c/p>\n\u003cp>Redwood City-based EA isn’t the only company to prioritize the kind of customization that expands who can play its games. Last year, for instance, Microsoft introduced the “co-pilot” feature, that allows two people to share one controller. Ostensibly, blind gamers could pair up with sighted friends.\u003c/p>\n\u003cp>“Even though we were building it for gamers with disabilities in mind, it opens up a whole new variety of ways to play on our platform,” says Evelyn Thomas, a program manger on \u003ca href=\"https://www.xbox.com/en-US/xbox-one/accessibility\" target=\"_blank\" rel=\"noopener\">Microsoft’s Xbox\u003c/a>.\u003c/p>\n\u003cp>“Parents with children who aren’t necessarily that skilled yet in playing games. Two people sitting on a couch and playing together on the same game. One person in the turnt of the tank and the other person steering,” Thomas explains.\u003c/p>\n\u003cp>\u003cstrong>Hankering for a more immersive experience\u003c/strong>\u003c/p>\n\u003cp>Marco Salsiccia of San Francisco is the very kind of gamer likely to benefit from the work Stevens and Thomas do.\u003c/p>\n\u003cp>Salsiccia lost his left eye to retinal cancer as a baby, and related complications took his right eye about four years ago. “My vision just went dark one day, in a matter of 30 minutes, and it never came back.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8Co9KroHhW8&w=560&h=315]\u003cbr>\nAmong other things, the blindness ended his first career. ” I was a motion graphics animator and a Visual FX artist,” he says with a sigh.\u003c/p>\n\u003cp>These days, when he’s not working as an accessibility consultant for Lyft, Salsiccia still gets together with his sighted gamer buddies to get as close to the games he used to play as possible. “I have a photographic and eidetic memory, so I remember a lot of the games that I played. So while they’re playing it, I can visualize what the levels look like, like where enemies were. Like, ‘Careful around this corner. I know it’s going to come up.’ Being able to sit here and just listen to the experience was fun, though I do miss actually playing it.”\u003c/p>\n\u003cp>His experience reflects a common truth about gaming: it’s as much about socializing as it is about the games. “Gaming is in fact the way many teens bond with their friends, and accessibility barriers mean, unfortunately, that there will be social distance between blind teens and their friends,” writes Bryan Bashin of San Francisco’s \u003ca href=\"http://lighthouse-sf.org\" target=\"_blank\" rel=\"noopener\">LightHouse for the Blind and Visually Impaired\u003c/a>.\u003c/p>\n\u003cp>“Yes, there are a number of blind gamers who play games designed to be nonvisual, and many really enjoy these. But it is the enjoyment of a ghetto, and the key social benefits of connecting with other gamers in person or online is lost with blind-specific games,” Bashin adds.\u003c/p>\n\u003cp>Salsiccia plays online in game rooms with blind or otherwise visually impaired players from all over the world. It’s a trip to watch him play, because I’m staring at his laptop, but nothing’s happening on the screen.\u003c/p>\n\u003cp>He reels off the games he can play. “Monopoly. Uno. Blackjack. Yahtze. Battleship. Shut the box. Cards against humanity. I’m able to come into a game room, open up a little table. people can join me, or I can invite my friends and we can all play rummy together or any of the games here.\u003c/p>\n\u003cp>“But a lot of the games that I’ve found are accessible, aren’t necessarily immersive,” he adds.\u003c/p>\n\u003cp>\u003cstrong>Gaming the games\u003c/strong>\u003c/p>\n\u003cp>Now, a blind or visually impaired person can play an immersive game, like Madden NFL, by paying close attention to the verbal descriptions, music and other audio cues. As more game designers send vibrations to the controllers, those provide non-visual cues as well. And of course, these gamers are more likely than the average to really read the manual.\u003c/p>\n\u003cp>One gamer in England who goes by the moniker “SightlessKombat” has developed an international reputation playing first-person shooter games. You can watch him on his \u003ca href=\"https://www.youtube.com/channel/UCTYyCwuvR_3FPvtUDOmz_1Q\" target=\"_blank\" rel=\"noopener\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>But there are also immersive games that put the audio front and center — like The Nightjar, a sci fi thriller set in outer space.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=zeBFCQ-aBds]\u003cbr>\nSalsiccia explains, “The whole experience is narrated by Benedict Cumberbatch, so you have his voice in your ears, guiding you through the game, while your character’s trying to escape a space station that’s been overrun by aliens and is being sucked into the event horizon of a black hole.”\u003c/p>\n\u003cp>“There are some games that almost hit that level of immersion, but there could be more,” Salsiccia says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nothing will \u003ci>perfectly\u003c/i> replace the visceral delight Salsiccia used to get playing with visually immersive games for. But the technology is getting better with each passing year…as is the attitude among game developers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, \u003ca href=\"https://www.ea.com/able/resources/madden/madden-18\" target=\"_blank\" rel=\"noopener\">\u003cem>Madden NFL\u003c/em>\u003c/a> graphics developer Karen Stevens won a “game jam” — or hackathon — at the video game company \u003ca href=\"https://www.ea.com\" target=\"_blank\" rel=\"noopener\">Electronic Arts\u003c/a>.\u003c/p>\n\u003cp>Her pitch: tweak the code to make it possible to adjust, brightness and contrast controls, opt for bigger menu icons and change the colors — you know, for people who are colorblind. “Turns out one out of 12 men are colorblind, and one out of 200 women,” Stevens says. “There are probably half a million color-blind Madden players, so it really makes an impact.”\u003c/p>\n\u003cp>As the \u003ca href=\"http://www.gdconf.com\" target=\"_blank\" rel=\"noopener\">Game Developers Conference\u003c/a> packs the streets of downtown San Francisco this week, let’s take a moment to assess how the industry is addressing \u003ca href=\"http://schedule.gdconf.com/search/diversity\" target=\"_blank\" rel=\"noopener\">diversity\u003c/a> from an accessibility perspective.\u003c/p>\n\u003cp>As surprising as it may seem, given the visually intensive nature of most games today, there are visually impaired people all over the world playing games — whether they were designed with them in mind or not.\u003c/p>\n\u003cp>Four years after that hackathon, Stevens is now EA’s Sports Accessibility Lead, making sure accessibility is “baked in” to product development from the start.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stevens also spreads the gospel by giving talks at conferences. “\u003ca href=\"https://www.gdcvault.com/play/1024114/Game-Accessibility-Practical-Visual-Fixes\" target=\"_blank\" rel=\"noopener\">It’s a mindset, not a feature\u003c/a>,” she told last year’s GDC. It really should be considered in every step of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13827553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827553\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png\" alt='\"It’s not a universal thing yet, but I do see progress all around,\" says EA’s Sports Accessibility Lead Karen Stevens.' width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-768x501.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-240x156.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-375x244.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-520x339.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s not a universal thing yet, but I do see progress all around,” says EA’s Sports Accessibility Lead Karen Stevens. \u003ccite>(Photo: Courtesy of GDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, she also spoke at \u003ca href=\"https://www.gaconf.com\" target=\"_blank\" rel=\"noopener\">#GAconf\u003c/a>, a conference totally focused on accessibility that was held Monday in San Francisco.\u003c/p>\n\u003cp>“Just because a game isn’t designed to be accessible, doesn’t mean people can’t play it. Like, when I started my role, people were already playing EA games — blind. They just didn’t have any support, so they would struggle with things, but they would still play.”\u003c/p>\n\u003cp>Redwood City-based EA isn’t the only company to prioritize the kind of customization that expands who can play its games. Last year, for instance, Microsoft introduced the “co-pilot” feature, that allows two people to share one controller. Ostensibly, blind gamers could pair up with sighted friends.\u003c/p>\n\u003cp>“Even though we were building it for gamers with disabilities in mind, it opens up a whole new variety of ways to play on our platform,” says Evelyn Thomas, a program manger on \u003ca href=\"https://www.xbox.com/en-US/xbox-one/accessibility\" target=\"_blank\" rel=\"noopener\">Microsoft’s Xbox\u003c/a>.\u003c/p>\n\u003cp>“Parents with children who aren’t necessarily that skilled yet in playing games. Two people sitting on a couch and playing together on the same game. One person in the turnt of the tank and the other person steering,” Thomas explains.\u003c/p>\n\u003cp>\u003cstrong>Hankering for a more immersive experience\u003c/strong>\u003c/p>\n\u003cp>Marco Salsiccia of San Francisco is the very kind of gamer likely to benefit from the work Stevens and Thomas do.\u003c/p>\n\u003cp>Salsiccia lost his left eye to retinal cancer as a baby, and related complications took his right eye about four years ago. “My vision just went dark one day, in a matter of 30 minutes, and it never came back.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8Co9KroHhW8'\n title='//www.youtube.com/embed/8Co9KroHhW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nAmong other things, the blindness ended his first career. ” I was a motion graphics animator and a Visual FX artist,” he says with a sigh.\u003c/p>\n\u003cp>These days, when he’s not working as an accessibility consultant for Lyft, Salsiccia still gets together with his sighted gamer buddies to get as close to the games he used to play as possible. “I have a photographic and eidetic memory, so I remember a lot of the games that I played. So while they’re playing it, I can visualize what the levels look like, like where enemies were. Like, ‘Careful around this corner. I know it’s going to come up.’ Being able to sit here and just listen to the experience was fun, though I do miss actually playing it.”\u003c/p>\n\u003cp>His experience reflects a common truth about gaming: it’s as much about socializing as it is about the games. “Gaming is in fact the way many teens bond with their friends, and accessibility barriers mean, unfortunately, that there will be social distance between blind teens and their friends,” writes Bryan Bashin of San Francisco’s \u003ca href=\"http://lighthouse-sf.org\" target=\"_blank\" rel=\"noopener\">LightHouse for the Blind and Visually Impaired\u003c/a>.\u003c/p>\n\u003cp>“Yes, there are a number of blind gamers who play games designed to be nonvisual, and many really enjoy these. But it is the enjoyment of a ghetto, and the key social benefits of connecting with other gamers in person or online is lost with blind-specific games,” Bashin adds.\u003c/p>\n\u003cp>Salsiccia plays online in game rooms with blind or otherwise visually impaired players from all over the world. It’s a trip to watch him play, because I’m staring at his laptop, but nothing’s happening on the screen.\u003c/p>\n\u003cp>He reels off the games he can play. “Monopoly. Uno. Blackjack. Yahtze. Battleship. Shut the box. Cards against humanity. I’m able to come into a game room, open up a little table. people can join me, or I can invite my friends and we can all play rummy together or any of the games here.\u003c/p>\n\u003cp>“But a lot of the games that I’ve found are accessible, aren’t necessarily immersive,” he adds.\u003c/p>\n\u003cp>\u003cstrong>Gaming the games\u003c/strong>\u003c/p>\n\u003cp>Now, a blind or visually impaired person can play an immersive game, like Madden NFL, by paying close attention to the verbal descriptions, music and other audio cues. As more game designers send vibrations to the controllers, those provide non-visual cues as well. And of course, these gamers are more likely than the average to really read the manual.\u003c/p>\n\u003cp>One gamer in England who goes by the moniker “SightlessKombat” has developed an international reputation playing first-person shooter games. You can watch him on his \u003ca href=\"https://www.youtube.com/channel/UCTYyCwuvR_3FPvtUDOmz_1Q\" target=\"_blank\" rel=\"noopener\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>But there are also immersive games that put the audio front and center — like The Nightjar, a sci fi thriller set in outer space.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zeBFCQ-aBds'\n title='//www.youtube.com/embed/zeBFCQ-aBds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nSalsiccia explains, “The whole experience is narrated by Benedict Cumberbatch, so you have his voice in your ears, guiding you through the game, while your character’s trying to escape a space station that’s been overrun by aliens and is being sucked into the event horizon of a black hole.”\u003c/p>\n\u003cp>“There are some games that almost hit that level of immersion, but there could be more,” Salsiccia says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nothing will \u003ci>perfectly\u003c/i> replace the visceral delight Salsiccia used to get playing with visually immersive games for. But the technology is getting better with each passing year…as is the attitude among game developers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A woman on Monday said she was a 17-year-old model and aspiring actress when Steven Seagal sexually assaulted her at a supposed casting session at a Beverly Hills hotel room in 2002.\u003c/p>\n\u003cp>Faviola Dadis was emotional but composed as she spoke at a news conference in Los Angeles, becoming the latest of several women to accuse the action star of sexual misconduct.\u003c/p>\n\u003cp>Dadis said Seagal reached under her bikini top, grabbed her nipples and then grabbed her genitals soon after the audition began. She said she promptly ended the audition and left deeply shaken.\u003c/p>\n\u003cp>“I have suffered from depression, anxiety and post-traumatic stress, have found it difficult to form trusting relationships with men,” Dadis said through tears as she read from a written statement.\u003c/p>\n\u003cp>She recently filed a report with police, and Los Angeles prosecutors said Monday that her case is under review.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dadis spoke at the news conference alongside her attorney, Lisa Bloom, and another woman, Regina Simons, who said Seagal sexually assaulted her in 1995 when she was 18, allegations she previously made on NBC’s \u003cem>Megyn Kelly Today\u003c/em> in January.\u003c/p>\n\u003cp>Seagal’s attorney Anthony Falangetti said the actor adamantly denies the allegations.\u003c/p>\n\u003cp>“These claims by the two women who spoke today are completely fictitious and totally made up,” Falangetti told The Associated Press in a phone interview later Monday.\u003c/p>\n\u003cp>He said it was implausible that either woman ended up unaccompanied with Seagal in the ways they said they were.\u003cbr>\n“Neither one of their accounts is at all believable,” Falangetti said.\u003c/p>\n\u003cp>Dadis, now a 33-year-old doctoral candidate in clinical neuroscience, said she had recently moved to the U.S. from the Netherlands when a music producer introduced her to Seagal. After several phone calls and text messages, Seagal invited Dadis to a hotel room in Beverly Hills for the late-night casting session for a film he planned to make about Genghis Khan, Dadis said.\u003c/p>\n\u003cfigure id=\"attachment_13827539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg\" alt=\"Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \u003ccite>(Stasevich Andrei Olegovich /AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dadis brought a family friend because her mother was suspicious, but the person stayed in the lobby and she ended up in a room with only Seagal and his personal security guard.\u003c/p>\n\u003cp>Seagal had told her to wear a bikini or bra and panties under her clothes, and had her walk around the room in the bikini before saying he wanted to test their chemistry together and started touching her, Dadis said.\u003c/p>\n\u003cp>“Steven sat there calmly as if nothing had happened while I was noticeably upset and terrified by the experience,” she said. “I left feeling horrified and totally violated.”\u003c/p>\n\u003cp>She said she told friends after about a month, but did not go to authorities at the time because she feared being blacklisted in the entertainment industry. She said Seagal later called her, but she never accepted the calls.\u003c/p>\n\u003cp>Dadis said she was inspired by the recent wave of reports of sexual misconduct by men in the entertainment industry, and was spurred to come forward especially by actress Portia de Rossi saying Seagal once unzipped his pants during an audition with her.\u003c/p>\n\u003cp>Actress Jenny McCarthy has also said Seagal sexually harassed her at an audition in 1995.\u003c/p>\n\u003cp>Seagal has denied the actresses’ allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dadis and Simons’ allegations were first reported by \u003cem>TheWrap\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A woman on Monday said she was a 17-year-old model and aspiring actress when Steven Seagal sexually assaulted her at a supposed casting session at a Beverly Hills hotel room in 2002.\u003c/p>\n\u003cp>Faviola Dadis was emotional but composed as she spoke at a news conference in Los Angeles, becoming the latest of several women to accuse the action star of sexual misconduct.\u003c/p>\n\u003cp>Dadis said Seagal reached under her bikini top, grabbed her nipples and then grabbed her genitals soon after the audition began. She said she promptly ended the audition and left deeply shaken.\u003c/p>\n\u003cp>“I have suffered from depression, anxiety and post-traumatic stress, have found it difficult to form trusting relationships with men,” Dadis said through tears as she read from a written statement.\u003c/p>\n\u003cp>She recently filed a report with police, and Los Angeles prosecutors said Monday that her case is under review.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dadis spoke at the news conference alongside her attorney, Lisa Bloom, and another woman, Regina Simons, who said Seagal sexually assaulted her in 1995 when she was 18, allegations she previously made on NBC’s \u003cem>Megyn Kelly Today\u003c/em> in January.\u003c/p>\n\u003cp>Seagal’s attorney Anthony Falangetti said the actor adamantly denies the allegations.\u003c/p>\n\u003cp>“These claims by the two women who spoke today are completely fictitious and totally made up,” Falangetti told The Associated Press in a phone interview later Monday.\u003c/p>\n\u003cp>He said it was implausible that either woman ended up unaccompanied with Seagal in the ways they said they were.\u003cbr>\n“Neither one of their accounts is at all believable,” Falangetti said.\u003c/p>\n\u003cp>Dadis, now a 33-year-old doctoral candidate in clinical neuroscience, said she had recently moved to the U.S. from the Netherlands when a music producer introduced her to Seagal. After several phone calls and text messages, Seagal invited Dadis to a hotel room in Beverly Hills for the late-night casting session for a film he planned to make about Genghis Khan, Dadis said.\u003c/p>\n\u003cfigure id=\"attachment_13827539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg\" alt=\"Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \u003ccite>(Stasevich Andrei Olegovich /AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dadis brought a family friend because her mother was suspicious, but the person stayed in the lobby and she ended up in a room with only Seagal and his personal security guard.\u003c/p>\n\u003cp>Seagal had told her to wear a bikini or bra and panties under her clothes, and had her walk around the room in the bikini before saying he wanted to test their chemistry together and started touching her, Dadis said.\u003c/p>\n\u003cp>“Steven sat there calmly as if nothing had happened while I was noticeably upset and terrified by the experience,” she said. “I left feeling horrified and totally violated.”\u003c/p>\n\u003cp>She said she told friends after about a month, but did not go to authorities at the time because she feared being blacklisted in the entertainment industry. She said Seagal later called her, but she never accepted the calls.\u003c/p>\n\u003cp>Dadis said she was inspired by the recent wave of reports of sexual misconduct by men in the entertainment industry, and was spurred to come forward especially by actress Portia de Rossi saying Seagal once unzipped his pants during an audition with her.\u003c/p>\n\u003cp>Actress Jenny McCarthy has also said Seagal sexually harassed her at an audition in 1995.\u003c/p>\n\u003cp>Seagal has denied the actresses’ allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dadis and Simons’ allegations were first reported by \u003cem>TheWrap\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer Rihanna denounced an ad that appeared on Snapchat making a game of domestic violence that featured photographs of her and Chris Brown. And the social media app’s stock price went tumbling.\u003c/p>\n\u003cp>“Now SNAPCHAT I know you already know you ain’t my fav app out there,” Rihanna said in a statement posted Thursday on rival social media platform Instagram, where she has 61 million followers. “I’d love to call it ignorance, but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!!”\u003c/p>\n\u003cp>The ad was for the mobile game “Would You Rather,” which asks users a series of questions, sometimes offensive. The ad said, “Would you rather slap Rihanna” or “punch Chris Brown.”\u003c/p>\n\u003cp>In 2009, Brown pleaded guilty to felony assault after Rihanna accused him of beating her and trying to push her out of a car. Photos emerged of her with a bruised face.\u003c/p>\n\u003cp>Snapchat had already yanked the ad Monday and issued an apology. But the ad reappeared on social media as users circulated it and questioned its content.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nicollettemw/status/974298645666451456\u003c/p>\n\u003cp>https://twitter.com/mswawasi/status/974909891520458752\u003c/p>\n\u003cp>https://twitter.com/ChelseaClinton/status/973215666244325376\u003c/p>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\n\u003cp>https://twitter.com/KylieJenner/status/966429897118728192\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company’s stock quickly fell 6 percent, erasing more than a billion dollars from its market value, \u003ca href=\"http://money.cnn.com/2018/02/22/technology/snapchat-update-kylie-jenner/index.html\">said CNN\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Snapchat%27s+Stock+Sinks+After+Rihanna+Denounces+Domestic+Violence+Ad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\u003c/p>\u003c/div>",
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"title": "Urban Sketcher Captures the Colorful Commercial Signs of a San Jose Long Gone",
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"content": "\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A judge agreed Thursday to let five additional Bill Cosby accusers testify at his April 2 retrial for an alleged 2004 sexual assault, giving prosecutors a chance to portray the man once known as “America’s Dad” as a serial predator who made a sadistic habit of drugging and molesting women.\u003c/p>\n\u003cp>Judge Steven O’Neill said prosecutors could choose the witnesses from a list of eight women with allegations dating as far back as the early 1980s. They include model Janice Dickinson, who said Cosby knocked her out with pills and raped her during a 1982 trip to Lake Tahoe.\u003c/p>\n\u003cp>Prosecutors, eager to expand the scope of the underlying he-said-she-said case, had pushed to let jurors hear from as many as 19 of the dozens of women who say Cosby assaulted them over a five-decade span.\u003c/p>\n\u003cp>“We are reviewing the judge’s order and will be making some determinations,” District Attorney Kevin Steele said.\u003cbr>\nDickinson’s lawyer, Lisa Bloom, said if her client is picked, she would be “ready, willing and able to testify.” Bloom said Dickinson “has waited decades for this opportunity.”\u003c/p>\n\u003cp>Cosby’s retooled legal team, led by former Michael Jackson lawyer Tom Mesereau, went to court last week to block any additional accusers from testifying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby’s lawyers argued prosecutors are trying to bolster an otherwise weak case with “ancient allegations” that would confuse, distract and prejudice the jury against the 80-year-old comedian.\u003c/p>\n\u003cp>“It just shows how desperate they are and that this is a very weak case,” Cosby spokesman Andrew Wyatt said after O’Neill’s ruling. “Mr. Cosby is innocent of these charges.”\u003c/p>\n\u003cp>Cosby has pleaded not guilty to charges he drugged and molested former Temple University women’s basketball official Andrea Constand at his suburban Philadelphia home in January 2004. He remains free on bail.\u003c/p>\n\u003cp>O’Neill has yet to rule on whether Cosby’s lawyers can tell jurors about his 2006 settlement with Constand.\u003c/p>\n\u003cp>Mesereau said in court March 6 that jurors would learn “just how greedy” Constand was when they hear details about how much money she demanded from Cosby and what the star wound up paying her.\u003c/p>\n\u003cp>Allowing additional accusers to testify is sure to keep Cosby in court longer than his first trial, which ended in a hung jury last year after six days of testimony and five days of deliberations.\u003c/p>\n\u003cp>Mesereau said prospective jurors should expect a month-long trial. Jury selection begins March 29.\u003c/p>\n\u003cp>Pennsylvania allows prosecutors to present evidence of alleged past misdeeds if they demonstrate the defendant engaged in a signature pattern of crime.\u003c/p>\n\u003cp>Prosecutors argue Cosby used his power and appeal as a beloved entertainer to befriend younger women and then plied them with drugs or alcohol before assaulting them.\u003c/p>\n\u003cp>Prosecutors tried to have 13 additional accusers testify at Cosby’s first trial last year, but O’Neill limited them to just one and barred any mention of about 60 others who have come forward to accuse Cosby in recent years.\u003c/p>\n\u003cp>Kelly Johnson, who worked for Cosby’s agent, testified Cosby knocked her out with a pill during a 1996 meeting at the Bel-Air Hotel in Los Angeles. She said she woke up to find her dress disheveled, her breasts exposed and Cosby forcing her to touch his genitals.\u003c/p>\n\u003cp>The only other hints jurors got of Cosby’s past came from deposition excerpts from 2005 and 2006 in which he admitted getting quaaludes to give to women he wanted to have sex with.\u003c/p>\n\u003cp>For prosecutors, having several accusers tell similar stories about Cosby would give them a chance to smooth over issues with Constand’s credibility and insulate her from attacks from his lawyers, who’ve already indicated they’re likely to paint her as a money-grubbing liar.\u003c/p>\n\u003cp>Dave Zuckerman, a former prosecutor who practices criminal defense in the Pittsburgh area, said that “might help put the case over the edge in favor of the prosecution.”\u003c/p>\n\u003cp>“Now it becomes more than just one accuser against Bill Cosby,” he said. “Now you have a pattern of multiple women.”\u003c/p>\n\u003cp>Also Thursday, Dickinson’s defamation lawsuit against Cosby was allowed to move forward after the California Supreme Court refused his appeal. Dickinson sued Cosby after he and his representatives said her allegations were false.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand and Dickinson have done.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A judge agreed Thursday to let five additional Bill Cosby accusers testify at his April 2 retrial for an alleged 2004 sexual assault, giving prosecutors a chance to portray the man once known as “America’s Dad” as a serial predator who made a sadistic habit of drugging and molesting women.\u003c/p>\n\u003cp>Judge Steven O’Neill said prosecutors could choose the witnesses from a list of eight women with allegations dating as far back as the early 1980s. They include model Janice Dickinson, who said Cosby knocked her out with pills and raped her during a 1982 trip to Lake Tahoe.\u003c/p>\n\u003cp>Prosecutors, eager to expand the scope of the underlying he-said-she-said case, had pushed to let jurors hear from as many as 19 of the dozens of women who say Cosby assaulted them over a five-decade span.\u003c/p>\n\u003cp>“We are reviewing the judge’s order and will be making some determinations,” District Attorney Kevin Steele said.\u003cbr>\nDickinson’s lawyer, Lisa Bloom, said if her client is picked, she would be “ready, willing and able to testify.” Bloom said Dickinson “has waited decades for this opportunity.”\u003c/p>\n\u003cp>Cosby’s retooled legal team, led by former Michael Jackson lawyer Tom Mesereau, went to court last week to block any additional accusers from testifying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby’s lawyers argued prosecutors are trying to bolster an otherwise weak case with “ancient allegations” that would confuse, distract and prejudice the jury against the 80-year-old comedian.\u003c/p>\n\u003cp>“It just shows how desperate they are and that this is a very weak case,” Cosby spokesman Andrew Wyatt said after O’Neill’s ruling. “Mr. Cosby is innocent of these charges.”\u003c/p>\n\u003cp>Cosby has pleaded not guilty to charges he drugged and molested former Temple University women’s basketball official Andrea Constand at his suburban Philadelphia home in January 2004. He remains free on bail.\u003c/p>\n\u003cp>O’Neill has yet to rule on whether Cosby’s lawyers can tell jurors about his 2006 settlement with Constand.\u003c/p>\n\u003cp>Mesereau said in court March 6 that jurors would learn “just how greedy” Constand was when they hear details about how much money she demanded from Cosby and what the star wound up paying her.\u003c/p>\n\u003cp>Allowing additional accusers to testify is sure to keep Cosby in court longer than his first trial, which ended in a hung jury last year after six days of testimony and five days of deliberations.\u003c/p>\n\u003cp>Mesereau said prospective jurors should expect a month-long trial. Jury selection begins March 29.\u003c/p>\n\u003cp>Pennsylvania allows prosecutors to present evidence of alleged past misdeeds if they demonstrate the defendant engaged in a signature pattern of crime.\u003c/p>\n\u003cp>Prosecutors argue Cosby used his power and appeal as a beloved entertainer to befriend younger women and then plied them with drugs or alcohol before assaulting them.\u003c/p>\n\u003cp>Prosecutors tried to have 13 additional accusers testify at Cosby’s first trial last year, but O’Neill limited them to just one and barred any mention of about 60 others who have come forward to accuse Cosby in recent years.\u003c/p>\n\u003cp>Kelly Johnson, who worked for Cosby’s agent, testified Cosby knocked her out with a pill during a 1996 meeting at the Bel-Air Hotel in Los Angeles. She said she woke up to find her dress disheveled, her breasts exposed and Cosby forcing her to touch his genitals.\u003c/p>\n\u003cp>The only other hints jurors got of Cosby’s past came from deposition excerpts from 2005 and 2006 in which he admitted getting quaaludes to give to women he wanted to have sex with.\u003c/p>\n\u003cp>For prosecutors, having several accusers tell similar stories about Cosby would give them a chance to smooth over issues with Constand’s credibility and insulate her from attacks from his lawyers, who’ve already indicated they’re likely to paint her as a money-grubbing liar.\u003c/p>\n\u003cp>Dave Zuckerman, a former prosecutor who practices criminal defense in the Pittsburgh area, said that “might help put the case over the edge in favor of the prosecution.”\u003c/p>\n\u003cp>“Now it becomes more than just one accuser against Bill Cosby,” he said. “Now you have a pattern of multiple women.”\u003c/p>\n\u003cp>Also Thursday, Dickinson’s defamation lawsuit against Cosby was allowed to move forward after the California Supreme Court refused his appeal. Dickinson sued Cosby after he and his representatives said her allegations were false.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand and Dickinson have done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16053303/james-levine\" target=\"_blank\" rel=\"noopener\">James Levine\u003c/a>, the famed conductor who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592983504/metropolitan-opera-fires-james-levine-for-sexual-misconduct\">fired earlier this week\u003c/a> by New York’s Metropolitan Opera following its internal investigation into allegations of sexually abusive conduct towards young artists, has responded by suing the Met and its General Manager Peter Gelb.\u003c/p>\n\u003cp>“The Met, lacking contractual authority, suspended Maestro Levine without even the courtesy of a conversation regarding the substance of the allegations or the basis of his suspension,” the lawsuit begins. It goes on to accuse the Met of “McCarthyite tactics” due to the organization’s protection of the privacy of Levine’s accusers, a common practice for employers when presented with accusations of this type.\u003c/p>\n\u003cp>Levine’s complaint points out that the Met was aware of the 2016 police report filed against him, but “took no disciplinary action.” It also accuses the company of “cynically hijacking the good will of the #MeToo movement,” and says that Gelb and the Met “brazenly seized on these allegations as a pretext to end a long-standing personal campaign to force Levine out of the Met and cease fulfilling its legally enforceable financial commitments to him.”\u003c/p>\n\u003cp>Levine is seeking at least $5.85 million in damages, in part over breach of his employment contract as music director emeritus, a position the Met created specifically for him and in which he was meant to serve until 2026.\u003c/p>\n\u003cp>The Met Opera \u003ca href=\"https://www.metopera.org/About/Press-Releases/Statement/\" target=\"_blank\" rel=\"noopener\">rebutted\u003c/a> Levine’s suit publicly yesterday, writing: “There is no basis for Mr. Levine’s assertion that the Met was on a vendetta against him, when in fact the Met supported him through prolonged and repeated periods of illness that kept him from the podium, at one point spanning two entire seasons.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It continues: “During the course of the investigation, Mr. Levine was offered numerous opportunities to be interviewed, beginning in December. It was only when the investigation was wrapping up, upon realization that termination was imminent, that he agreed to be interviewed, but on impossible terms, asking that the identity of his accusers, who had been promised anonymity, be disclosed.”\u003c/p>\n\u003cp>In its statement on firing Levine as the Met Opera’s music director emeritus and artistic director of its young artist program issued earlier this week, the organization wrote that its investigation had “uncovered credible evidence that Mr. Levine had engaged in sexually abusive and harassing conduct both before and during the period when he worked at the Met.” Levine first conducted at the institution in the early 1970s, and was only removed as an employee earlier this week — a period of nearly half a century.\u003c/p>\n\u003cp>The controversy around Levine, while said to have been rumored for some time, became public after a police report was furnished to the press in early December 2017. The report, filed two years ago in Illinois, alleged Levine had assaulted the pianist and violinist Ashok Pai while the artist was a teenager in the late 1980s. Pai was attending the Ravinia Music Festival in Illinois at the time, which features a program for young musicians with professional career aspirations. Levine was the festival’s music director for over 20 years.\u003c/p>\n\u003cp>In the wake of the accusations, Ravinia and several other organizations quickly \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/05/568619074/after-assault-allegations-classical-institutions-rush-to-distance-from-james-lev\" target=\"_blank\" rel=\"noopener\">severed ties with the conductor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As his lawsuit makes plain, Levine “strenuously denies” the allegations against him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=James+Levine+Sues+Met+Opera%2C+Accuses+It+Of+%27Cynically+Hijacking%27+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The conductor has sued New York's storied opera house after being fired earlier this week following the Met's internal investigation into allegations of sexual abusive conduct towards young artists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/16053303/james-levine\" target=\"_blank\" rel=\"noopener\">James Levine\u003c/a>, the famed conductor who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592983504/metropolitan-opera-fires-james-levine-for-sexual-misconduct\">fired earlier this week\u003c/a> by New York’s Metropolitan Opera following its internal investigation into allegations of sexually abusive conduct towards young artists, has responded by suing the Met and its General Manager Peter Gelb.\u003c/p>\n\u003cp>“The Met, lacking contractual authority, suspended Maestro Levine without even the courtesy of a conversation regarding the substance of the allegations or the basis of his suspension,” the lawsuit begins. It goes on to accuse the Met of “McCarthyite tactics” due to the organization’s protection of the privacy of Levine’s accusers, a common practice for employers when presented with accusations of this type.\u003c/p>\n\u003cp>Levine’s complaint points out that the Met was aware of the 2016 police report filed against him, but “took no disciplinary action.” It also accuses the company of “cynically hijacking the good will of the #MeToo movement,” and says that Gelb and the Met “brazenly seized on these allegations as a pretext to end a long-standing personal campaign to force Levine out of the Met and cease fulfilling its legally enforceable financial commitments to him.”\u003c/p>\n\u003cp>Levine is seeking at least $5.85 million in damages, in part over breach of his employment contract as music director emeritus, a position the Met created specifically for him and in which he was meant to serve until 2026.\u003c/p>\n\u003cp>The Met Opera \u003ca href=\"https://www.metopera.org/About/Press-Releases/Statement/\" target=\"_blank\" rel=\"noopener\">rebutted\u003c/a> Levine’s suit publicly yesterday, writing: “There is no basis for Mr. Levine’s assertion that the Met was on a vendetta against him, when in fact the Met supported him through prolonged and repeated periods of illness that kept him from the podium, at one point spanning two entire seasons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It continues: “During the course of the investigation, Mr. Levine was offered numerous opportunities to be interviewed, beginning in December. It was only when the investigation was wrapping up, upon realization that termination was imminent, that he agreed to be interviewed, but on impossible terms, asking that the identity of his accusers, who had been promised anonymity, be disclosed.”\u003c/p>\n\u003cp>In its statement on firing Levine as the Met Opera’s music director emeritus and artistic director of its young artist program issued earlier this week, the organization wrote that its investigation had “uncovered credible evidence that Mr. Levine had engaged in sexually abusive and harassing conduct both before and during the period when he worked at the Met.” Levine first conducted at the institution in the early 1970s, and was only removed as an employee earlier this week — a period of nearly half a century.\u003c/p>\n\u003cp>The controversy around Levine, while said to have been rumored for some time, became public after a police report was furnished to the press in early December 2017. The report, filed two years ago in Illinois, alleged Levine had assaulted the pianist and violinist Ashok Pai while the artist was a teenager in the late 1980s. Pai was attending the Ravinia Music Festival in Illinois at the time, which features a program for young musicians with professional career aspirations. Levine was the festival’s music director for over 20 years.\u003c/p>\n\u003cp>In the wake of the accusations, Ravinia and several other organizations quickly \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/05/568619074/after-assault-allegations-classical-institutions-rush-to-distance-from-james-lev\" target=\"_blank\" rel=\"noopener\">severed ties with the conductor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As his lawsuit makes plain, Levine “strenuously denies” the allegations against him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=James+Levine+Sues+Met+Opera%2C+Accuses+It+Of+%27Cynically+Hijacking%27+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tix Not to Miss at the San Francisco International Film Festival",
"headTitle": "Tix Not to Miss at the San Francisco International Film Festival | KQED",
"content": "\u003cp>Like the rest of the film world, the San Francisco International Film Festival has done some soul-searching this year. At the announcement of this year’s program, the watchwords were “diversity and inclusion,” put forth as both Bay Area values and ideals supported within the festival’s schedule. \u003c/p>\n\u003cp>Perhaps this year’s audiences will get a bit more self-reflection from the stars, directors and soon-to-be box office sensations coming to town April 4-17. Barring that, there will be plenty of opportunities for gutsy audience members to ask their own hard-hitting questions at post-screening Q&As. \u003c/p>\n\u003cp>Already chomping at the bit? Tickets for screenings go on sale Friday, March 16 at 10am, and some of them are obviously hot. Some tips for the shows sure to sell out fast:\u003c/p>\n\u003cfigure id=\"attachment_13827379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg\" alt=\"Claire Danes, Jim Parsons, and Leo James Davis appear in 'A Kid Like Jake' by Silas Howard.\" width=\"1200\" height=\"764\" class=\"size-full wp-image-13827379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-520x331.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claire Danes, Jim Parsons, and Leo James Davis appear in ‘A Kid Like Jake’ by Silas Howard. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/opening-night-a-kid-like-jake\" rel=\"noopener\" target=\"_blank\">Opening Night: ‘A Kid Like Jake’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 4, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSetting a tone of openness and vulnerability against an often hateful national discussion is the festival’s kickoff film \u003ci>A Kid Like Jake\u003c/i>. Helmed by Silas Howard (the first trans director of a \u003ci>Transparent\u003c/i> episode), the film follows Jim Parsons and Claire Danes as the parents of a preschool-aged son who likes to engage in “gender-variant play.” Should they use their child’s possible transgender leanings as a “diversity” selling point in their quest for entry into New York’s exclusive private schools? What’s best for Jake?\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/how-to-talk-to-girls-at-parties\" rel=\"noopener\" target=\"_blank\">‘How to Talk to Girls at Parties’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 6, 9pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nJohn Cameron Mitchell (\u003ci>Hedwig and the Angry Inch\u003c/i>) brings a Neil Gaiman short story to life in this “punk rock 1970s alien invasion film” starring Elle Fanning as a visitor from another planet and Nicole Kidman as a leather-clad club queen. Four words to pique your interest: shape-shifting anal probes. \u003c/p>\n\u003cfigure id=\"attachment_13827382\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg\" alt=\"'Robin Williams: Come Inside My Mind' by Marina Zenovich.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13827382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Robin Williams: Come Inside My Mind’ by Marina Zenovich. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/robin-williams-come-inside-my-mind\" rel=\"noopener\" target=\"_blank\">‘Robin Williams: Come Inside My Mind’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 7, 2pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nLocal audiences won’t want to miss Marina Zenovich’s sensitive portrait of the late, great comedy hero. Including never-before heard audio tapes recorded by Williams, in which he discusses his life and career, this rousing tribute should have us simultaneously laughing and weeping in our seats. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/tribute-to-charlize-theron-tully\" rel=\"noopener\" target=\"_blank\">A Tribute to Charlize Theron\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 7:30pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSFFILM honors Charlize Theron’s impressive career with an on-stage conversation followed by the screening of her latest film, the Diablo Cody-written, Jason Reitman-directed \u003ci>Tully\u003c/i>. As she has with so many of her roles (\u003cem>Monster\u003c/em>, \u003cem>Young Adult\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>), Theron shapeshifts into her character — this time to become Marlo, a burned-out mother of three who reluctantly allows her brother to gift her a night nanny, played by Mackenzie Davis. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">State of Cinema: Guy Maddin\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 12:30pm / Victoria Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nThe director behind last year’s closing night — \u003ci>The Green Fog\u003c/i>, a reimagining of Alfred Hitchcock’s \u003ci>Vertigo\u003c/i> using only clips from other Bay Area films (playing at Stanford on \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" rel=\"noopener\" target=\"_blank\">April 6\u003c/a>) — brings his mind to bear on the current state of cinema. Maddin’s description of his talk sounds a bit like the plot of \u003ci>Inception\u003c/i> (“What are the limits of the nested trance?”), but he promises “dreamy clips galore” in this mind-bending discussion of dream-states, sleeping actors and elevating cinema to action. \u003c/p>\n\u003cfigure id=\"attachment_13827381\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg\" alt=\"Marc Capelle & The Red Room Orchestra\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13827381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marc Capelle & The Red Room Orchestra \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films-with-marc-capelle%E2%80%99s-red-room-orchestra\" rel=\"noopener\" target=\"_blank\">A Celebration of Oddball Films with Marc Capelle’s Red Room Orchestra\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 9, 8pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nMarc Capelle’s eclectic and versatile group of musicians promise a No Wave/disco score to a selection of clips from Stephen Parr’s legendary Oddball Films collection. Parr, who \u003ca href=\"https://www.kqed.org/arts/13813188\" rel=\"noopener\" target=\"_blank\">passed away last October\u003c/a>, was known for placing the right reel (be it industrial, educational or just plain odd) in the hands of every indie filmmaker, documentarian or big studio director who came to him for material. Let’s hope these types of tributes to him just keep coming.\u003c/p>\n\u003cfigure id=\"attachment_13827380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg\" alt=\"A scene from Sam Green and Joe Bini's 'A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13827380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sam Green and Joe Bini’s ‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-thousand-thoughts\" rel=\"noopener\" target=\"_blank\">‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet’\u003c/a>\n\u003c/h3>\u003cp>\u003cstrong>April 10, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nHow’s this for meta? Bay Area favorite Sam Green focuses his special brand of “live filmmaking” on another set of Bay Area favorites, Kronos Quartet, blending archival footage, interviews and interactive storytelling — all scored live onstage by Kronos Quartet. It seems a bit unfair to have to play during a movie that’s ostensibly about you, but I’m sure the audience will be able to set those feelings aside and simply enjoy this audio-visual treat. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/rbg\" rel=\"noopener\" target=\"_blank\">‘RBG’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 14, 1pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSupreme Court Justice Ruth Bader Ginsburg is 85 today, and she didn’t earn the nickname “Notorious RBG” for nothing. Chronicling her legal career battling gender discrimination cases to her long and storied history with the court, filmmakers Betsy West and Julie Cohen deliver a lively and necessary documentary on a living legend.\u003c/p>\n\u003cfigure id=\"attachment_13827377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg\" alt=\"Joaquin Phoenix and Johah Hill appear in 'Don't Worry, He Won't Get Far On Foot,' by Gus Van Sant.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13827377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix and Johah Hill appear in ‘Don’t Worry, He Won’t Get Far On Foot,’ by Gus Van Sant. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/dont-worry-he-wont-get-far-on-foot\" rel=\"noopener\" target=\"_blank\">Closing Night: ‘Don’t Worry He Won’t Get Far on Foot’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 15, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nGus Van Sant turns his attention to the life and work of celebrated Portland cartoonist, alcoholic and quadriplegic John Callahan, who \u003ca href=\"http://www.nytimes.com/2010/07/28/arts/design/28callahan.html\" rel=\"noopener\" target=\"_blank\">died in 2010\u003c/a> after decades of sparing no one — including the disabled — from his macabre sense of humor. Joaquin Phoenix stars as Callahan, with Jonah Hill (nearly unrecognizable in leisurewear, long hair and a beard) as his AA group leader and Rooney Mara and Jack Black rounding out the supporting cast. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Live performances, special guests and a chat with Furiosa herself are sure to sell quick at this year's fest.",
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"title": "Tix Not to Miss at the San Francisco International Film Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like the rest of the film world, the San Francisco International Film Festival has done some soul-searching this year. At the announcement of this year’s program, the watchwords were “diversity and inclusion,” put forth as both Bay Area values and ideals supported within the festival’s schedule. \u003c/p>\n\u003cp>Perhaps this year’s audiences will get a bit more self-reflection from the stars, directors and soon-to-be box office sensations coming to town April 4-17. Barring that, there will be plenty of opportunities for gutsy audience members to ask their own hard-hitting questions at post-screening Q&As. \u003c/p>\n\u003cp>Already chomping at the bit? Tickets for screenings go on sale Friday, March 16 at 10am, and some of them are obviously hot. Some tips for the shows sure to sell out fast:\u003c/p>\n\u003cfigure id=\"attachment_13827379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg\" alt=\"Claire Danes, Jim Parsons, and Leo James Davis appear in 'A Kid Like Jake' by Silas Howard.\" width=\"1200\" height=\"764\" class=\"size-full wp-image-13827379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-520x331.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claire Danes, Jim Parsons, and Leo James Davis appear in ‘A Kid Like Jake’ by Silas Howard. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/opening-night-a-kid-like-jake\" rel=\"noopener\" target=\"_blank\">Opening Night: ‘A Kid Like Jake’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 4, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSetting a tone of openness and vulnerability against an often hateful national discussion is the festival’s kickoff film \u003ci>A Kid Like Jake\u003c/i>. Helmed by Silas Howard (the first trans director of a \u003ci>Transparent\u003c/i> episode), the film follows Jim Parsons and Claire Danes as the parents of a preschool-aged son who likes to engage in “gender-variant play.” Should they use their child’s possible transgender leanings as a “diversity” selling point in their quest for entry into New York’s exclusive private schools? What’s best for Jake?\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/how-to-talk-to-girls-at-parties\" rel=\"noopener\" target=\"_blank\">‘How to Talk to Girls at Parties’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 6, 9pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nJohn Cameron Mitchell (\u003ci>Hedwig and the Angry Inch\u003c/i>) brings a Neil Gaiman short story to life in this “punk rock 1970s alien invasion film” starring Elle Fanning as a visitor from another planet and Nicole Kidman as a leather-clad club queen. Four words to pique your interest: shape-shifting anal probes. \u003c/p>\n\u003cfigure id=\"attachment_13827382\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg\" alt=\"'Robin Williams: Come Inside My Mind' by Marina Zenovich.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13827382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Robin Williams: Come Inside My Mind’ by Marina Zenovich. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/robin-williams-come-inside-my-mind\" rel=\"noopener\" target=\"_blank\">‘Robin Williams: Come Inside My Mind’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 7, 2pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nLocal audiences won’t want to miss Marina Zenovich’s sensitive portrait of the late, great comedy hero. Including never-before heard audio tapes recorded by Williams, in which he discusses his life and career, this rousing tribute should have us simultaneously laughing and weeping in our seats. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/tribute-to-charlize-theron-tully\" rel=\"noopener\" target=\"_blank\">A Tribute to Charlize Theron\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 7:30pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSFFILM honors Charlize Theron’s impressive career with an on-stage conversation followed by the screening of her latest film, the Diablo Cody-written, Jason Reitman-directed \u003ci>Tully\u003c/i>. As she has with so many of her roles (\u003cem>Monster\u003c/em>, \u003cem>Young Adult\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>), Theron shapeshifts into her character — this time to become Marlo, a burned-out mother of three who reluctantly allows her brother to gift her a night nanny, played by Mackenzie Davis. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">State of Cinema: Guy Maddin\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 12:30pm / Victoria Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nThe director behind last year’s closing night — \u003ci>The Green Fog\u003c/i>, a reimagining of Alfred Hitchcock’s \u003ci>Vertigo\u003c/i> using only clips from other Bay Area films (playing at Stanford on \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" rel=\"noopener\" target=\"_blank\">April 6\u003c/a>) — brings his mind to bear on the current state of cinema. Maddin’s description of his talk sounds a bit like the plot of \u003ci>Inception\u003c/i> (“What are the limits of the nested trance?”), but he promises “dreamy clips galore” in this mind-bending discussion of dream-states, sleeping actors and elevating cinema to action. \u003c/p>\n\u003cfigure id=\"attachment_13827381\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg\" alt=\"Marc Capelle & The Red Room Orchestra\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13827381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marc Capelle & The Red Room Orchestra \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films-with-marc-capelle%E2%80%99s-red-room-orchestra\" rel=\"noopener\" target=\"_blank\">A Celebration of Oddball Films with Marc Capelle’s Red Room Orchestra\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 9, 8pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nMarc Capelle’s eclectic and versatile group of musicians promise a No Wave/disco score to a selection of clips from Stephen Parr’s legendary Oddball Films collection. Parr, who \u003ca href=\"https://www.kqed.org/arts/13813188\" rel=\"noopener\" target=\"_blank\">passed away last October\u003c/a>, was known for placing the right reel (be it industrial, educational or just plain odd) in the hands of every indie filmmaker, documentarian or big studio director who came to him for material. Let’s hope these types of tributes to him just keep coming.\u003c/p>\n\u003cfigure id=\"attachment_13827380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg\" alt=\"A scene from Sam Green and Joe Bini's 'A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13827380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sam Green and Joe Bini’s ‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-thousand-thoughts\" rel=\"noopener\" target=\"_blank\">‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet’\u003c/a>\n\u003c/h3>\u003cp>\u003cstrong>April 10, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nHow’s this for meta? Bay Area favorite Sam Green focuses his special brand of “live filmmaking” on another set of Bay Area favorites, Kronos Quartet, blending archival footage, interviews and interactive storytelling — all scored live onstage by Kronos Quartet. It seems a bit unfair to have to play during a movie that’s ostensibly about you, but I’m sure the audience will be able to set those feelings aside and simply enjoy this audio-visual treat. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/rbg\" rel=\"noopener\" target=\"_blank\">‘RBG’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 14, 1pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSupreme Court Justice Ruth Bader Ginsburg is 85 today, and she didn’t earn the nickname “Notorious RBG” for nothing. Chronicling her legal career battling gender discrimination cases to her long and storied history with the court, filmmakers Betsy West and Julie Cohen deliver a lively and necessary documentary on a living legend.\u003c/p>\n\u003cfigure id=\"attachment_13827377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg\" alt=\"Joaquin Phoenix and Johah Hill appear in 'Don't Worry, He Won't Get Far On Foot,' by Gus Van Sant.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13827377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix and Johah Hill appear in ‘Don’t Worry, He Won’t Get Far On Foot,’ by Gus Van Sant. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/dont-worry-he-wont-get-far-on-foot\" rel=\"noopener\" target=\"_blank\">Closing Night: ‘Don’t Worry He Won’t Get Far on Foot’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 15, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nGus Van Sant turns his attention to the life and work of celebrated Portland cartoonist, alcoholic and quadriplegic John Callahan, who \u003ca href=\"http://www.nytimes.com/2010/07/28/arts/design/28callahan.html\" rel=\"noopener\" target=\"_blank\">died in 2010\u003c/a> after decades of sparing no one — including the disabled — from his macabre sense of humor. Joaquin Phoenix stars as Callahan, with Jonah Hill (nearly unrecognizable in leisurewear, long hair and a beard) as his AA group leader and Rooney Mara and Jack Black rounding out the supporting cast. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-hustle-a-stage-actor-who-lives-in-san-francisco-on-just-30000-a-year",
"title": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year",
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"headTitle": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year | KQED",
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"content": "\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"excerpt": "One of the most multifaceted and respected theater artists in the Bay Area, Beth Wilmurt makes it all happen on $30,000 a year. ",
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"title": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"title": "iHeartMedia Turns the Dial to Bankruptcy",
"headTitle": "iHeartMedia Turns the Dial to Bankruptcy | KQED",
"content": "\u003cp>The “substantial doubt” that iHeartMedia’s corporate leaders expressed around the company’s likelihood of surviving another year, mentioned in its \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/11/ihmedia-form-10-q-11-8-2017-11878765.pdf\" target=\"_blank\" rel=\"noopener\">quarterly financial report\u003c/a> last November, has been put to rest.\u003c/p>\n\u003cp>iHeartMedia, the country’s largest radio broadcaster with around 850 stations and a leading outdoor advertising company, is filing for bankruptcy after spending years trying to manage its $20 billion in outstanding indebtedness. (For some context, per that November statement, iHeartMedia was obligated to pay $1.8 billion in interest over that coming year.)\u003c/p>\n\u003cp>iHeartMedia radio stations in the \u003ca href=\"https://www.iheartmedia.com/iheartmedia/stations?city=San+Francisco\" rel=\"noopener\" target=\"_blank\">San Francisco Bay Area\u003c/a>, such as Wild 94.9 and 106 KMEL, did not publicly respond to the news Thursday. \u003c/p>\n\u003cp>The company writes in a press release that it has reached “an agreement in principle with holders of more than $10 billion of its outstanding debt and its financial sponsors” that will essentially cut its debt in half, and that it has filed motions with the court to be allowed to operate normally through the restructuring. The bankruptcy follows, by two months, \u003ca href=\"https://www.wsj.com/articles/cumulus-media-files-for-bankruptcy-1512044443\" target=\"_blank\" rel=\"noopener\">the bankruptcy of the country’s \u003cem>second\u003c/em>-largest radio company\u003c/a>, Cumulus, which offloaded $1 billion in debt.\u003c/p>\n\u003cp>Per the terms of \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1457737/000119312518083160/d494465d8k.htm\" target=\"_blank\" rel=\"noopener\">its filing\u003c/a>, the company will distribute 91.79 percent of its “reorganized common stock” after the upcoming restructuring, and establish $5.41 billion in new secured debt to its debtees. As well, those debt holders will receive all of the equity it holds in its dominant outdoor advertising company, Clear Channel Outdoor Holdings (CCOH), which will be distributed in the same way. Asked to clarify who would be receiving these equities, iHeartMedia declined to comment and referred NPR to the language of the filing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iHeartMedia has spent the past several years attempting to deal with its financial burden, which weighed down what would otherwise seem to be, according to its revenues and operating incomes, a healthy company.\u003c/p>\n\u003cp>In 2017, for example, in order to put off having to pay some $476.4 million in debt securities it would have owed in 2018, the company exchanged that debt for the same amount, at a higher interest rate, due in 2021. It also did the opposite, exchanging debt securities due in 2021 for that year in exchange for a lower interest rate — however, many of the debts it exchanged this way last year were significantly lower than the debts it chose to delay; $15.6 million and $45 million in two transactions, for example. In 2016, \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/03/ihcomm-form-10-q-11-9-2016-11220738.pdf\" target=\"_blank\" rel=\"noopener\">the company sold\u003c/a> a subsidiary, Broader Media, $383 million of iHeartMedia’s debt at a price of $222.2 million, relieving itself of $156.7 million and saving it $38.3 million in interest.\u003c/p>\n\u003cp>About 10 years ago, the amount paid for iHeartMedia, Inc. — $26.7 billion — was a particularly lofty example of a “leveraged buyout”; broadly, the term for purchasing a company by borrowing the money from banks, which issue those loans against the company’s cash and assets. The buyout was led by Bain Capital, the private equity firm founded by Mitt Romney in 1984, and Thomas H. Lee Partners. It was funded by a consortium of banks — Citigroup, Deutsche Bank, Morgan Stanley, Credit Suisse, Royal Bank of Scotland and Wachovia.\u003c/p>\n\u003cp>In a strange twist, THL and Bain ended up suing those six banks in March 2008 after they supposedly planned to \u003ca href=\"http://www.nytimes.com/2008/03/27/business/media/27radio-web.html\" target=\"_blank\" rel=\"noopener\">back out of the agreement\u003c/a>. When it seemed those court cases weren’t going to be ruled in their favor, they all \u003ca href=\"https://www.sec.gov/Archives/edgar/data/739708/000095013408009540/d56929exv99w1.htm\" target=\"_blank\" rel=\"noopener\">reached a settlement in May 2008\u003c/a>. These bank loans take the form of long-term debt that can leave companies with little breathing room as the interest payments, and larger debt obligations, begin rolling in.\u003c/p>\n\u003cp>The timing of iHeartMedia’s buyout, which took place as the financial crisis was truly beginning, was poor. “So-called legacy media industries have faced fierce competition for advertising dollars from digital formats,” writes Matthew Crain, an assistant professor of media studies at CUNY who \u003ca href=\"https://academicworks.cuny.edu/qc_pubs/171/\">examined private equity and media ownership\u003c/a> shortly after the iHeartMedia buyout, in an email to NPR. “The great recession also hit advertising quite hard across the board.”\u003c/p>\n\u003cp>“Before the buyout, Clear Channel held a good amount of debt from its 1990s merger spree and had already been hollowing out its stations’ local identities by imposing efficiencies, like moving to popular cookie cutter formats and reducing live programming. Private equity accelerated these trends and added a mountain of new debt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bob Pittman, chairman and CEO of iHeart, writes: “We have transformed a traditional broadcast radio company into a true 21st century multi-platform, data-driven, digitally-focused media and entertainment powerhouse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR Music. To see more, visit \u003ca href=\"\">NPR Music\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=iHeartMedia+Turns+The+Dial+To+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The country's largest radio broadcaster, iHeartMedia spent years trying to manage $20 billion in debt. Now, the company has reached an agreement that will cut that debt by half.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The “substantial doubt” that iHeartMedia’s corporate leaders expressed around the company’s likelihood of surviving another year, mentioned in its \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/11/ihmedia-form-10-q-11-8-2017-11878765.pdf\" target=\"_blank\" rel=\"noopener\">quarterly financial report\u003c/a> last November, has been put to rest.\u003c/p>\n\u003cp>iHeartMedia, the country’s largest radio broadcaster with around 850 stations and a leading outdoor advertising company, is filing for bankruptcy after spending years trying to manage its $20 billion in outstanding indebtedness. (For some context, per that November statement, iHeartMedia was obligated to pay $1.8 billion in interest over that coming year.)\u003c/p>\n\u003cp>iHeartMedia radio stations in the \u003ca href=\"https://www.iheartmedia.com/iheartmedia/stations?city=San+Francisco\" rel=\"noopener\" target=\"_blank\">San Francisco Bay Area\u003c/a>, such as Wild 94.9 and 106 KMEL, did not publicly respond to the news Thursday. \u003c/p>\n\u003cp>The company writes in a press release that it has reached “an agreement in principle with holders of more than $10 billion of its outstanding debt and its financial sponsors” that will essentially cut its debt in half, and that it has filed motions with the court to be allowed to operate normally through the restructuring. The bankruptcy follows, by two months, \u003ca href=\"https://www.wsj.com/articles/cumulus-media-files-for-bankruptcy-1512044443\" target=\"_blank\" rel=\"noopener\">the bankruptcy of the country’s \u003cem>second\u003c/em>-largest radio company\u003c/a>, Cumulus, which offloaded $1 billion in debt.\u003c/p>\n\u003cp>Per the terms of \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1457737/000119312518083160/d494465d8k.htm\" target=\"_blank\" rel=\"noopener\">its filing\u003c/a>, the company will distribute 91.79 percent of its “reorganized common stock” after the upcoming restructuring, and establish $5.41 billion in new secured debt to its debtees. As well, those debt holders will receive all of the equity it holds in its dominant outdoor advertising company, Clear Channel Outdoor Holdings (CCOH), which will be distributed in the same way. Asked to clarify who would be receiving these equities, iHeartMedia declined to comment and referred NPR to the language of the filing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>iHeartMedia has spent the past several years attempting to deal with its financial burden, which weighed down what would otherwise seem to be, according to its revenues and operating incomes, a healthy company.\u003c/p>\n\u003cp>In 2017, for example, in order to put off having to pay some $476.4 million in debt securities it would have owed in 2018, the company exchanged that debt for the same amount, at a higher interest rate, due in 2021. It also did the opposite, exchanging debt securities due in 2021 for that year in exchange for a lower interest rate — however, many of the debts it exchanged this way last year were significantly lower than the debts it chose to delay; $15.6 million and $45 million in two transactions, for example. In 2016, \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/03/ihcomm-form-10-q-11-9-2016-11220738.pdf\" target=\"_blank\" rel=\"noopener\">the company sold\u003c/a> a subsidiary, Broader Media, $383 million of iHeartMedia’s debt at a price of $222.2 million, relieving itself of $156.7 million and saving it $38.3 million in interest.\u003c/p>\n\u003cp>About 10 years ago, the amount paid for iHeartMedia, Inc. — $26.7 billion — was a particularly lofty example of a “leveraged buyout”; broadly, the term for purchasing a company by borrowing the money from banks, which issue those loans against the company’s cash and assets. The buyout was led by Bain Capital, the private equity firm founded by Mitt Romney in 1984, and Thomas H. Lee Partners. It was funded by a consortium of banks — Citigroup, Deutsche Bank, Morgan Stanley, Credit Suisse, Royal Bank of Scotland and Wachovia.\u003c/p>\n\u003cp>In a strange twist, THL and Bain ended up suing those six banks in March 2008 after they supposedly planned to \u003ca href=\"http://www.nytimes.com/2008/03/27/business/media/27radio-web.html\" target=\"_blank\" rel=\"noopener\">back out of the agreement\u003c/a>. When it seemed those court cases weren’t going to be ruled in their favor, they all \u003ca href=\"https://www.sec.gov/Archives/edgar/data/739708/000095013408009540/d56929exv99w1.htm\" target=\"_blank\" rel=\"noopener\">reached a settlement in May 2008\u003c/a>. These bank loans take the form of long-term debt that can leave companies with little breathing room as the interest payments, and larger debt obligations, begin rolling in.\u003c/p>\n\u003cp>The timing of iHeartMedia’s buyout, which took place as the financial crisis was truly beginning, was poor. “So-called legacy media industries have faced fierce competition for advertising dollars from digital formats,” writes Matthew Crain, an assistant professor of media studies at CUNY who \u003ca href=\"https://academicworks.cuny.edu/qc_pubs/171/\">examined private equity and media ownership\u003c/a> shortly after the iHeartMedia buyout, in an email to NPR. “The great recession also hit advertising quite hard across the board.”\u003c/p>\n\u003cp>“Before the buyout, Clear Channel held a good amount of debt from its 1990s merger spree and had already been hollowing out its stations’ local identities by imposing efficiencies, like moving to popular cookie cutter formats and reducing live programming. Private equity accelerated these trends and added a mountain of new debt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bob Pittman, chairman and CEO of iHeart, writes: “We have transformed a traditional broadcast radio company into a true 21st century multi-platform, data-driven, digitally-focused media and entertainment powerhouse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR Music. To see more, visit \u003ca href=\"\">NPR Music\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=iHeartMedia+Turns+The+Dial+To+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The real trick with any durational art — video or performance — is holding the audience’s attention. Sure, anyone will watch a 30-second Instagram video, a \u003ca href=\"https://www.kqed.org/arts/13827053\" rel=\"noopener\" target=\"_blank\">2-minute-30-second movie trailer\u003c/a>, and maybe, if you’re blessed, a \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" rel=\"noopener\" target=\"_blank\">6-minute long mini-doc\u003c/a> about a visionary local filmmaker. But an hour-long, non-narrative, three-channel video installation? Good luck.\u003c/p>\n\u003cp>And then there’s New York-based artist \u003ca href=\"http://www.michellehandelman.com/\" rel=\"noopener\" target=\"_blank\">Michelle Handelman\u003c/a>’s latest piece, \u003ci>\u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" rel=\"noopener\" target=\"_blank\">Hustlers & Empires\u003c/a>\u003c/i>, commissioned by and on view at the San Francisco Museum of Modern Art, which doesn’t just hold the audience’s attention — it commands it. \u003c/p>\n\u003cp>Drawing from three very different sources — Iceberg Slim’s 1967 memoir \u003ci>Pimp\u003c/i>, Federico Fellini’s 1968 short film \u003ci>Toby Dammit\u003c/i> and Marguerite Duras’ 1984 autobiographical novel \u003ci>The Lover\u003c/i> — Handelman layers fact, fiction and mesmerizing performances to create a compelling, fragmented, hallucinatory depiction of those living on society’s edges.\u003c/p>\n\u003cfigure id=\"attachment_13827300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg\" alt=\"Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"749\" class=\"size-full wp-image-13827300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all know we live in a sound-bite culture and we’re all aware of people’s short attention spans, yet I’m compelled to make these pieces a certain way,” Handelman says of her commitment to longform video, talking with KQED Arts. “The way my projects are designed — through the use of repetition, sound and long takes that stare at you — there’s a structure built into them that, at best, is hypnotic.”\u003c/p>\n\u003cp>“Hypnotic” is the operative word here. In SFMOMA’s White Box gallery space, the three video channels project large onto adjacent walls, alternating focus between the three “hustlers,” played by artists, musicians and performers Shannon Funchess, John Kelly and Viva Ruiz. Filling the gallery floor below are portable stages, props from the video and light stands holding 2D replicas of video cameras. Other stands support T-shirts bearing the faces of young Terence Stamp (star of \u003ci>Toby Dammit\u003c/i>), Duras and Slim.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the trio swaps in and out of consistently fabulous outfits (including a sequence in which everyone looks like the space opera version of themselves), Funchess, Kelly and Ruiz embody the roles of Slim, Dammit and Duras, respectively. They speak to the difficulty of surviving in a capitalist, normative world that’s built to marginalize them. They relate stories of abuse and violence. And, in the most thrilling sequences of the video, they sing and dance.\u003c/p>\n\u003cfigure id=\"attachment_13827289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg\" alt=\"Still from Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"632\" class=\"size-full wp-image-13827289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1180x621.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The songs were really the heart of the piece for me,” Handelman says. “The reason I selected these performers was because they’re all amazing singers.” Each performer (sometimes in collaboration with Handelman) wrote two songs from the point of view of their character.\u003c/p>\n\u003cp>Funchess sings in a cyborg-esque rock star get-up of black leather and extreme shoulder pads. Kelly, his style described in Handelman’s production notes as “crumpled fashionable rogue,” sings in a serene voice about crossfades, dreams and the devil. Ruiz does an electronic dance number in thigh-high boots. \u003c/p>\n\u003cp>Their glamorous facades are undeniable. “Surfaces are fascinating,” Handelman says, “because surfaces are very deep. The more artifice people wear, the deeper the pain that’s masking. And I’m really interested in trying to get to both the character and the performer’s vulnerability — and let it leak out the shiny veneer.” \u003c/p>\n\u003cfigure id=\"attachment_13827287\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg\" alt=\"John Kelly as Toby Dammit in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13827287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Kelly as Toby Dammit in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersed between the music video moments are monologues from the characters in varying layers of costume. Handelman wants to dissolve the lines between performer and character, acting and being, because for her, “It doesn’t matter who says what, it matters what’s been said.” Fictions, after all, are informed by and influence facts.\u003c/p>\n\u003cp>Even though each of the stories Handelman draws upon in \u003ci>Hustlers & Empires\u003c/i> is set in a very particular place and time (1929 Saigon, mid-20th-century Chicago and 1960s Rome), the resulting video takes place on a soundstage she alternately calls a “void space,” “limbo” or “the talk show.” “I’m not interested in making period recreations of anything, ever,” she says.\u003c/p>\n\u003cp>The characters sit at a round table answering philosophical questions like “What gets you out of bed in the morning?” Canned laughter and applause tracks play at inappropriate moments. In Handelman’s hands, Slim, Duras and Dammit become contemporary, or perhaps more accurately: timeless. Their struggles against “empires” — repressive governments, racism, gender taboos, sexual mores, societal expectations — are as relevant now as they were in their respective times.\u003c/p>\n\u003cfigure id=\"attachment_13827293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg\" alt=\"Viva Ruiz as Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"800\" height=\"462\" class=\"size-full wp-image-13827293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viva Ruiz as Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Photo: Mr. Means)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A physical footnote to the three-channel video nails that relevancy. On a separate screen, without sound, costume or script, the talk show set reappears darker and less surreal. Funchess, Kelly and Ruiz return to answer the same questions (“What are you resisting?” “What is empire?”), but this time as themselves.\u003c/p>\n\u003cp>As an added layer of “realness,” their raw answers embody a line repeated by all three characters in \u003ci>Hustlers & Empires\u003c/i>: “You have no idea how weak I am.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003ci>‘Hustlers & Empires’ is on view at SFMOMA through March 18, with live performances on Saturday, March 17, 1-4pm and a special performance with Shannon Funchess, John Kelly and Viva Ruiz the same day at 6pm. For more information, \u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The real trick with any durational art — video or performance — is holding the audience’s attention. Sure, anyone will watch a 30-second Instagram video, a \u003ca href=\"https://www.kqed.org/arts/13827053\" rel=\"noopener\" target=\"_blank\">2-minute-30-second movie trailer\u003c/a>, and maybe, if you’re blessed, a \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" rel=\"noopener\" target=\"_blank\">6-minute long mini-doc\u003c/a> about a visionary local filmmaker. But an hour-long, non-narrative, three-channel video installation? Good luck.\u003c/p>\n\u003cp>And then there’s New York-based artist \u003ca href=\"http://www.michellehandelman.com/\" rel=\"noopener\" target=\"_blank\">Michelle Handelman\u003c/a>’s latest piece, \u003ci>\u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" rel=\"noopener\" target=\"_blank\">Hustlers & Empires\u003c/a>\u003c/i>, commissioned by and on view at the San Francisco Museum of Modern Art, which doesn’t just hold the audience’s attention — it commands it. \u003c/p>\n\u003cp>Drawing from three very different sources — Iceberg Slim’s 1967 memoir \u003ci>Pimp\u003c/i>, Federico Fellini’s 1968 short film \u003ci>Toby Dammit\u003c/i> and Marguerite Duras’ 1984 autobiographical novel \u003ci>The Lover\u003c/i> — Handelman layers fact, fiction and mesmerizing performances to create a compelling, fragmented, hallucinatory depiction of those living on society’s edges.\u003c/p>\n\u003cfigure id=\"attachment_13827300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg\" alt=\"Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"749\" class=\"size-full wp-image-13827300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_3_final_1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all know we live in a sound-bite culture and we’re all aware of people’s short attention spans, yet I’m compelled to make these pieces a certain way,” Handelman says of her commitment to longform video, talking with KQED Arts. “The way my projects are designed — through the use of repetition, sound and long takes that stare at you — there’s a structure built into them that, at best, is hypnotic.”\u003c/p>\n\u003cp>“Hypnotic” is the operative word here. In SFMOMA’s White Box gallery space, the three video channels project large onto adjacent walls, alternating focus between the three “hustlers,” played by artists, musicians and performers Shannon Funchess, John Kelly and Viva Ruiz. Filling the gallery floor below are portable stages, props from the video and light stands holding 2D replicas of video cameras. Other stands support T-shirts bearing the faces of young Terence Stamp (star of \u003ci>Toby Dammit\u003c/i>), Duras and Slim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the trio swaps in and out of consistently fabulous outfits (including a sequence in which everyone looks like the space opera version of themselves), Funchess, Kelly and Ruiz embody the roles of Slim, Dammit and Duras, respectively. They speak to the difficulty of surviving in a capitalist, normative world that’s built to marginalize them. They relate stories of abuse and violence. And, in the most thrilling sequences of the video, they sing and dance.\u003c/p>\n\u003cfigure id=\"attachment_13827289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg\" alt=\"Still from Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1200\" height=\"632\" class=\"size-full wp-image-13827289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-1180x621.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hustlers_2_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The songs were really the heart of the piece for me,” Handelman says. “The reason I selected these performers was because they’re all amazing singers.” Each performer (sometimes in collaboration with Handelman) wrote two songs from the point of view of their character.\u003c/p>\n\u003cp>Funchess sings in a cyborg-esque rock star get-up of black leather and extreme shoulder pads. Kelly, his style described in Handelman’s production notes as “crumpled fashionable rogue,” sings in a serene voice about crossfades, dreams and the devil. Ruiz does an electronic dance number in thigh-high boots. \u003c/p>\n\u003cp>Their glamorous facades are undeniable. “Surfaces are fascinating,” Handelman says, “because surfaces are very deep. The more artifice people wear, the deeper the pain that’s masking. And I’m really interested in trying to get to both the character and the performer’s vulnerability — and let it leak out the shiny veneer.” \u003c/p>\n\u003cfigure id=\"attachment_13827287\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg\" alt=\"John Kelly as Toby Dammit in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13827287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Blackmagic-DaVinci-Resolvestill1491_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Kelly as Toby Dammit in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersed between the music video moments are monologues from the characters in varying layers of costume. Handelman wants to dissolve the lines between performer and character, acting and being, because for her, “It doesn’t matter who says what, it matters what’s been said.” Fictions, after all, are informed by and influence facts.\u003c/p>\n\u003cp>Even though each of the stories Handelman draws upon in \u003ci>Hustlers & Empires\u003c/i> is set in a very particular place and time (1929 Saigon, mid-20th-century Chicago and 1960s Rome), the resulting video takes place on a soundstage she alternately calls a “void space,” “limbo” or “the talk show.” “I’m not interested in making period recreations of anything, ever,” she says.\u003c/p>\n\u003cp>The characters sit at a round table answering philosophical questions like “What gets you out of bed in the morning?” Canned laughter and applause tracks play at inappropriate moments. In Handelman’s hands, Slim, Duras and Dammit become contemporary, or perhaps more accurately: timeless. Their struggles against “empires” — repressive governments, racism, gender taboos, sexual mores, societal expectations — are as relevant now as they were in their respective times.\u003c/p>\n\u003cfigure id=\"attachment_13827293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg\" alt=\"Viva Ruiz as Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018.\" width=\"800\" height=\"462\" class=\"size-full wp-image-13827293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VivaRuiz-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viva Ruiz as Marguerite Duras in Michelle Handelman’s ‘Hustlers & Empires,’ 2018. \u003ccite>(Photo: Mr. Means)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A physical footnote to the three-channel video nails that relevancy. On a separate screen, without sound, costume or script, the talk show set reappears darker and less surreal. Funchess, Kelly and Ruiz return to answer the same questions (“What are you resisting?” “What is empire?”), but this time as themselves.\u003c/p>\n\u003cp>As an added layer of “realness,” their raw answers embody a line repeated by all three characters in \u003ci>Hustlers & Empires\u003c/i>: “You have no idea how weak I am.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003ci>‘Hustlers & Empires’ is on view at SFMOMA through March 18, with live performances on Saturday, March 17, 1-4pm and a special performance with Shannon Funchess, John Kelly and Viva Ruiz the same day at 6pm. For more information, \u003ca href=\"https://www.sfmoma.org/event/series/michelle-handelman/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
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"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
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"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "npr"
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
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"here-and-now": {
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"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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