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"title": "A Town in Mexico Sees Guitar Sales Soar Thanks to the Movie 'Coco'",
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"content": "\u003cp>Fresh off its Golden Globe award for best animation, the Disney-Pixar movie \u003cem>Coco\u003c/em> is a favorite to win an Oscar next month.\u003c/p>\n\u003cp>It’s a sweet story of a small boy, Miguel, who dreams of becoming a musician despite his parents’ objections. On the way, he finds family, tradition and a magnificent white guitar, encrusted with pearl details and a black skull.\u003c/p>\n\u003cp>Real-life sales of guitars like Miguel’s guitar have soared thanks to the movie. And not just in U.S. stores. A small town in Mexico’s western highlands, famous for its generation of guitar makers, is also enjoying a \u003cem>Coco\u003c/em> boon.\u003c/p>\n\u003cp>Paracho, in the state of Michoacán, is the former home of the very guitar maker who helped design the instrument seen in the film.\u003c/p>\n\u003cfigure id=\"attachment_13824893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg\" alt=\"The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in Coco was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in \u003cem>Coco\u003c/em> was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now living in Los Angeles, 65-year-old German Vazquez worked with Pixar on Miguel’s guitar. Although, he left Paracho back in the 1970s, this small town hasn’t forgotten him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em> is a hit in the United States, and has raked in \u003ca href=\"http://www.boxofficemojo.com/news/?id=4348&p=.htm\">more than $700 million\u003c/a> in box offices worldwide. But particularly in Mexico, it became the highest-grossing movie of all time. The town of Paracho is gaining some fame along with it.\u003c/p>\n\u003cp>“It’s impressive, everyone’s gone \u003cem>loco\u003c/em> for \u003cem>Coco,\u003c/em>” says souvenir shopkeeper Claudia Rodríguez de Velásquez. “We have a long list of back orders,” she says, running her fingers over a dozen Post-it notes attached to a wall by the cash register.\u003c/p>\n\u003cp>Ever since \u003cem>Coco\u003c/em> debuted late last year, she can’t keep the famous white guitars on her shelves.\u003c/p>\n\u003cfigure id=\"attachment_13824894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg\" alt='Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to <em>Coco</em>. \"We are all <em>loco</em> for <em>Coco</em>,\" one shopkeeper says.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13824894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to \u003cem>Coco\u003c/em>. “We are all \u003cem>loco\u003c/em> for \u003cem>Coco\u003c/em>,” one shopkeeper says. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her family’s guitar factory down the road is churning out 1,500 instruments a week, she says. Before \u003cem>Coco\u003c/em>, Rodríguez says 90 percent of their exported guitars were tan colored, with just a few painted white. Now it’s totally the opposite: white \u003cem>Coco\u003c/em>-like guitars dominate the orders.\u003c/p>\n\u003cp>There’s been a run on other kinds of instruments made in Paracho too.\u003c/p>\n\u003cp>César Ivan Lemus sits in his dusty workshop above his house, shaving flat the wooden neck of a large guitarrón favored by mariachi bands. He says he’s filling orders as fast as he can, selling mainly to mariachi schools and stores in Texas and California.\u003c/p>\n\u003cfigure id=\"attachment_13824895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg\" alt=\"César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a <em>guitarrón</em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a \u003cem>guitarrón\u003c/em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are so proud that Pixar turned to a Mexican artisan to design \u003cem>Coco\u003c/em>‘s guitar,” he says. “And not just any Mexican — a former Paracho resident,” he adds beaming.\u003c/p>\n\u003cp>This weekend Paracho is paying homage to Vazquez and the movie. Residents decorated several streets to look like the village in \u003cem>Coco\u003c/em> — set in a fictional part of Mexico — and they covered a large bronze guitar statue at the town’s entrance all in white.\u003c/p>\n\u003cp>Jesús Ocampo, who works for the local government, says it’s time one of Paracho’s gifted guitar makers got some overdue credit.\u003c/p>\n\u003cfigure id=\"attachment_13824896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg\" alt=\"Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie <em>Coco</em>.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie \u003cem>Coco\u003c/em>. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of people here in Paracho who have made guitars for very famous musicians around the world but they are practically anonymous,” he says.\u003c/p>\n\u003cp>He claims that other brands attempt to sell Paracho guitars packaged with their own labels, without recognition.\u003c/p>\n\u003cp>Ocampo says there are no official statistics, but Paracho’s guitar makers are estimated to export as many as a million guitars a year. The town has been in the guitar making business for centuries.\u003c/p>\n\u003cfigure id=\"attachment_13824891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg\" alt=\"Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnulfo Rubio Orozco, a master artisan who says he’s a third cousin of the \u003cem>Coco \u003c/em>guitar maker in California, comes from a line of guitar makers going back to his great grandfather. He tightens the strings on an instrument he’s been working on for a month. With pearl details and wood from southern Mexico, it will fetch about $2,000.\u003c/p>\n\u003cp>“My dad didn’t want me to make guitars,” says Rubio. Instead he was sent to work winters in a Christmas tree farm in North Carolina. “I had to sneak around, ducking into other guitar makers’ workshops to learn,” he says.\u003c/p>\n\u003cp>That’s almost like Miguel in the movie. He hid his dream of being a musician from his family.\u003c/p>\n\u003cp>“I guess the story repeats itself again,” Rubio chuckles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Rubio hasn’t actually seen \u003cem>Coco\u003c/em>. Paracho is a small town, it doesn’t have a movie theater. \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=A+Town+In+Mexico+Sees+Guitar+Sales+Soar+Thanks+To+The+Movie+%27Coco%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off its Golden Globe award for best animation, the Disney-Pixar movie \u003cem>Coco\u003c/em> is a favorite to win an Oscar next month.\u003c/p>\n\u003cp>It’s a sweet story of a small boy, Miguel, who dreams of becoming a musician despite his parents’ objections. On the way, he finds family, tradition and a magnificent white guitar, encrusted with pearl details and a black skull.\u003c/p>\n\u003cp>Real-life sales of guitars like Miguel’s guitar have soared thanks to the movie. And not just in U.S. stores. A small town in Mexico’s western highlands, famous for its generation of guitar makers, is also enjoying a \u003cem>Coco\u003c/em> boon.\u003c/p>\n\u003cp>Paracho, in the state of Michoacán, is the former home of the very guitar maker who helped design the instrument seen in the film.\u003c/p>\n\u003cfigure id=\"attachment_13824893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg\" alt=\"The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in Coco was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in \u003cem>Coco\u003c/em> was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now living in Los Angeles, 65-year-old German Vazquez worked with Pixar on Miguel’s guitar. Although, he left Paracho back in the 1970s, this small town hasn’t forgotten him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em> is a hit in the United States, and has raked in \u003ca href=\"http://www.boxofficemojo.com/news/?id=4348&p=.htm\">more than $700 million\u003c/a> in box offices worldwide. But particularly in Mexico, it became the highest-grossing movie of all time. The town of Paracho is gaining some fame along with it.\u003c/p>\n\u003cp>“It’s impressive, everyone’s gone \u003cem>loco\u003c/em> for \u003cem>Coco,\u003c/em>” says souvenir shopkeeper Claudia Rodríguez de Velásquez. “We have a long list of back orders,” she says, running her fingers over a dozen Post-it notes attached to a wall by the cash register.\u003c/p>\n\u003cp>Ever since \u003cem>Coco\u003c/em> debuted late last year, she can’t keep the famous white guitars on her shelves.\u003c/p>\n\u003cfigure id=\"attachment_13824894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg\" alt='Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to <em>Coco</em>. \"We are all <em>loco</em> for <em>Coco</em>,\" one shopkeeper says.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13824894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to \u003cem>Coco\u003c/em>. “We are all \u003cem>loco\u003c/em> for \u003cem>Coco\u003c/em>,” one shopkeeper says. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her family’s guitar factory down the road is churning out 1,500 instruments a week, she says. Before \u003cem>Coco\u003c/em>, Rodríguez says 90 percent of their exported guitars were tan colored, with just a few painted white. Now it’s totally the opposite: white \u003cem>Coco\u003c/em>-like guitars dominate the orders.\u003c/p>\n\u003cp>There’s been a run on other kinds of instruments made in Paracho too.\u003c/p>\n\u003cp>César Ivan Lemus sits in his dusty workshop above his house, shaving flat the wooden neck of a large guitarrón favored by mariachi bands. He says he’s filling orders as fast as he can, selling mainly to mariachi schools and stores in Texas and California.\u003c/p>\n\u003cfigure id=\"attachment_13824895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg\" alt=\"César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a <em>guitarrón</em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a \u003cem>guitarrón\u003c/em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are so proud that Pixar turned to a Mexican artisan to design \u003cem>Coco\u003c/em>‘s guitar,” he says. “And not just any Mexican — a former Paracho resident,” he adds beaming.\u003c/p>\n\u003cp>This weekend Paracho is paying homage to Vazquez and the movie. Residents decorated several streets to look like the village in \u003cem>Coco\u003c/em> — set in a fictional part of Mexico — and they covered a large bronze guitar statue at the town’s entrance all in white.\u003c/p>\n\u003cp>Jesús Ocampo, who works for the local government, says it’s time one of Paracho’s gifted guitar makers got some overdue credit.\u003c/p>\n\u003cfigure id=\"attachment_13824896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg\" alt=\"Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie <em>Coco</em>.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie \u003cem>Coco\u003c/em>. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of people here in Paracho who have made guitars for very famous musicians around the world but they are practically anonymous,” he says.\u003c/p>\n\u003cp>He claims that other brands attempt to sell Paracho guitars packaged with their own labels, without recognition.\u003c/p>\n\u003cp>Ocampo says there are no official statistics, but Paracho’s guitar makers are estimated to export as many as a million guitars a year. The town has been in the guitar making business for centuries.\u003c/p>\n\u003cfigure id=\"attachment_13824891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg\" alt=\"Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnulfo Rubio Orozco, a master artisan who says he’s a third cousin of the \u003cem>Coco \u003c/em>guitar maker in California, comes from a line of guitar makers going back to his great grandfather. He tightens the strings on an instrument he’s been working on for a month. With pearl details and wood from southern Mexico, it will fetch about $2,000.\u003c/p>\n\u003cp>“My dad didn’t want me to make guitars,” says Rubio. Instead he was sent to work winters in a Christmas tree farm in North Carolina. “I had to sneak around, ducking into other guitar makers’ workshops to learn,” he says.\u003c/p>\n\u003cp>That’s almost like Miguel in the movie. He hid his dream of being a musician from his family.\u003c/p>\n\u003cp>“I guess the story repeats itself again,” Rubio chuckles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Rubio hasn’t actually seen \u003cem>Coco\u003c/em>. Paracho is a small town, it doesn’t have a movie theater. \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=A+Town+In+Mexico+Sees+Guitar+Sales+Soar+Thanks+To+The+Movie+%27Coco%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While some of us were shelling out cash for flowers and chocolates, \u003ca href=\"https://www.npr.org/artists/137108917/frank-ocean\" target=\"_blank\" rel=\"noopener\">Frank Ocean\u003c/a> gifted his listeners with new music in honor of Valentine’s Day. The illusive R&B star released a cover of “Moon River” in the wee hours on his YouTube and Tumblr accounts. The 1961 original, by Henry Mancini with lyrics by Johnny Mercer, was written for Audrey Hepburn to sing in the cult classic \u003cem>Breakfast at Tiffany’s\u003c/em> and has been covered over the years by Jerry Butler, Aretha Franklin, Frank Sinatra and more.\u003c/p>\n\u003cp>For his version, Ocean starts by distorting his voice to resemble an innocent child (a similar tactic he frequently employed on his last album \u003cem>Blonde\u003c/em>) and croons over an achingly slow and beautiful bass line, providing his own supporting vocals and harmonies throughout. It’s far from the first time Ocean has put his own synthy spin on a pop classic; check out his covers of Stevie Wonder’s “\u003ca href=\"https://www.youtube.com/watch?v=Meij0gCWQb8\" target=\"_blank\" rel=\"noopener\">Close To You\u003c/a>” and The Isley Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=1kIOXNP5Ig0\" target=\"_blank\" rel=\"noopener\">At Your Best (You Are Love)\u003c/a>” for more nostalgia.\u003c/p>\n\u003cp>With a steady stream of releases in 2017 and now this new cover surfacing, it’s apparent the 30-year-old has every intention of making good on his promise that fans will “\u003ca href=\"http://frankocean.tumblr.com/post/169250081706/new-18-99\" target=\"_blank\" rel=\"noopener\">love 2018\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=Frank+Ocean+Gifts+Fans+With+%27Moon+River%27+Cover+On+Valentine%27s+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While some of us were shelling out cash for flowers and chocolates, \u003ca href=\"https://www.npr.org/artists/137108917/frank-ocean\" target=\"_blank\" rel=\"noopener\">Frank Ocean\u003c/a> gifted his listeners with new music in honor of Valentine’s Day. The illusive R&B star released a cover of “Moon River” in the wee hours on his YouTube and Tumblr accounts. The 1961 original, by Henry Mancini with lyrics by Johnny Mercer, was written for Audrey Hepburn to sing in the cult classic \u003cem>Breakfast at Tiffany’s\u003c/em> and has been covered over the years by Jerry Butler, Aretha Franklin, Frank Sinatra and more.\u003c/p>\n\u003cp>For his version, Ocean starts by distorting his voice to resemble an innocent child (a similar tactic he frequently employed on his last album \u003cem>Blonde\u003c/em>) and croons over an achingly slow and beautiful bass line, providing his own supporting vocals and harmonies throughout. It’s far from the first time Ocean has put his own synthy spin on a pop classic; check out his covers of Stevie Wonder’s “\u003ca href=\"https://www.youtube.com/watch?v=Meij0gCWQb8\" target=\"_blank\" rel=\"noopener\">Close To You\u003c/a>” and The Isley Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=1kIOXNP5Ig0\" target=\"_blank\" rel=\"noopener\">At Your Best (You Are Love)\u003c/a>” for more nostalgia.\u003c/p>\n\u003cp>With a steady stream of releases in 2017 and now this new cover surfacing, it’s apparent the 30-year-old has every intention of making good on his promise that fans will “\u003ca href=\"http://frankocean.tumblr.com/post/169250081706/new-18-99\" target=\"_blank\" rel=\"noopener\">love 2018\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=Frank+Ocean+Gifts+Fans+With+%27Moon+River%27+Cover+On+Valentine%27s+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re so glad the Coathangers are back in town. This Atlanta-based garage rock band led by guitarist Julia Kugel — with Meredith Franco on bass and Stephanie Luke on drums — likes to write songs about stuff that pisses them off. These days, women have plenty to be pissed about, and the Coathangers make terrifically rocking music about it all. \u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman notes that the band formed as a joke back in 2006, but since then they’ve developed quite a following. Their name is a reference to the use of coat hangers in the horrifying history self-induced abortions. The band chose the name because they liked the shock value, so if makes you uncomfortable, you’ll just have to deal with it. \u003c/p>\n\u003cp>Details for their shows at The Independent in San Francisco Feb. 19, and at the Catalyst in Santa Cruz Feb. 26 \u003ca href=\"http://thecoathangers.com/tour/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3bqo4tuTYM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re so glad the Coathangers are back in town. This Atlanta-based garage rock band led by guitarist Julia Kugel — with Meredith Franco on bass and Stephanie Luke on drums — likes to write songs about stuff that pisses them off. These days, women have plenty to be pissed about, and the Coathangers make terrifically rocking music about it all. \u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman notes that the band formed as a joke back in 2006, but since then they’ve developed quite a following. Their name is a reference to the use of coat hangers in the horrifying history self-induced abortions. The band chose the name because they liked the shock value, so if makes you uncomfortable, you’ll just have to deal with it. \u003c/p>\n\u003cp>Details for their shows at The Independent in San Francisco Feb. 19, and at the Catalyst in Santa Cruz Feb. 26 \u003ca href=\"http://thecoathangers.com/tour/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J3bqo4tuTYM'\n title='//www.youtube.com/embed/J3bqo4tuTYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Tales of Seeking Sanctuary Woven into 36 Rugs at Fort Mason",
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"content": "\u003cp>The For-Site Foundation, which oversaw the provocative @\u003cem>Large: Ai Weiwei on Alcatraz\u003c/em> exhibition in 2014, is back with an equally thoughtful and troubling show about the idea of sanctuary as a basic human right. The concept dates back to biblical times, but the topic is certainly timely. Tens of millions of refugees currently struggle to find a temporary safe haven while countries (like the US) that once welcomed them now try to keep them out. \u003c/p>\n\u003cp>The exhibition is called \u003cem>Sanctuary\u003c/em>, and it’s a collection of 36 colorful rugs, hand made in Pakistan, and designed by artists from around the world. Many of the artists are from Arab countries listed in President Trump’s travel ban. \u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"The rug designed by Ammar al-Beik in For-Sites show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Ammar al-Beik in For-Sites show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can walk on the rugs with your shoes off, even though they’re valuable works of art. I did so with curator and For-Site Founding Director Cheryl Haines. She pointed out one rug by Ammar al-Beik featuring chilling portraits of Donald Trump and Bashar Al Assad, facing each other under a chemical bomb, set like a frond of mistletoe between them.\u003c/p>\n\u003cfigure id=\"attachment_13824641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg\" alt=\"The rug designed by Sanaz Mazinani in For-Site's show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Sanaz Mazinani in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the rugs are lovely to look at but reveal a troubled narrative of war and displacement. Haines pointed to one by Sanaz Mazinani, an Iranian-born artist now living in the Bay Area. “If you look across the field of these rugs, at first many appear to be abstraction only, but as you take a closer look, [at this one by] Sanaz Mazinani, [it features] beautiful kaleidoscopic imagery, but what it really is exploding bombs.”\u003c/p>\n\u003cp>Details for the exhibition \u003cem>Sanctuary \u003c/em>through March 11 at the Fort Mason Chapel, including upcoming lectures and concerts, \u003ca href=\"https://www.for-site.org/project/sanctuary/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The For-Site Foundation, which oversaw the provocative @\u003cem>Large: Ai Weiwei on Alcatraz\u003c/em> exhibition in 2014, is back with an equally thoughtful and troubling show about the idea of sanctuary as a basic human right. The concept dates back to biblical times, but the topic is certainly timely. Tens of millions of refugees currently struggle to find a temporary safe haven while countries (like the US) that once welcomed them now try to keep them out. \u003c/p>\n\u003cp>The exhibition is called \u003cem>Sanctuary\u003c/em>, and it’s a collection of 36 colorful rugs, hand made in Pakistan, and designed by artists from around the world. Many of the artists are from Arab countries listed in President Trump’s travel ban. \u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"The rug designed by Ammar al-Beik in For-Sites show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Ammar al-Beik in For-Sites show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can walk on the rugs with your shoes off, even though they’re valuable works of art. I did so with curator and For-Site Founding Director Cheryl Haines. She pointed out one rug by Ammar al-Beik featuring chilling portraits of Donald Trump and Bashar Al Assad, facing each other under a chemical bomb, set like a frond of mistletoe between them.\u003c/p>\n\u003cfigure id=\"attachment_13824641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg\" alt=\"The rug designed by Sanaz Mazinani in For-Site's show 'Sanctuary' at the Fort Mason Chapel\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Mazinani-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rug designed by Sanaz Mazinani in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the rugs are lovely to look at but reveal a troubled narrative of war and displacement. Haines pointed to one by Sanaz Mazinani, an Iranian-born artist now living in the Bay Area. “If you look across the field of these rugs, at first many appear to be abstraction only, but as you take a closer look, [at this one by] Sanaz Mazinani, [it features] beautiful kaleidoscopic imagery, but what it really is exploding bombs.”\u003c/p>\n\u003cp>Details for the exhibition \u003cem>Sanctuary \u003c/em>through March 11 at the Fort Mason Chapel, including upcoming lectures and concerts, \u003ca href=\"https://www.for-site.org/project/sanctuary/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At 31, Ryan Coogler Ascends to the Top with 'Black Panther'",
"headTitle": "At 31, Ryan Coogler Ascends to the Top with ‘Black Panther’ | KQED",
"content": "\u003cp>Ryan Coogler was feeling overwhelmed by \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>It was only his third feature film and, at just 30-years-old, he was making it with Hollywood’s most powerful studio under enormous cultural expectations and with $200 million to get it right.\u003c/p>\n\u003cp>And he really didn’t want it to “suck” (his word).\u003c/p>\n\u003cp>The Oakland, California, native got into filmmaking almost on a lark when a creative writing professor at St. Mary’s College in Moraga, California, where he was attending on a football scholarship, suggested he look into screenwriting. He had thought he would play football and be a doctor, maybe, to help his community. But this idea of being a filmmaker took hold, and after making a splash at the USC School of Cinematic Arts, he had solidified himself as one of the most promising and vibrant young directors to watch.\u003c/p>\n\u003cp>His first feature, the indie \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant III, put him on the map after winning the Sundance Grand Jury and Audience prizes in 2013, a handful of critics groups awards and a Film Independent Spirit Award. His second, the \u003cem>Rocky\u003c/em> spin-off \u003cem>Creed\u003c/em>, put him on another level.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The $35 million film grossed over $173 million worldwide and reinvigorated a franchise for Warner Bros.\u003c/p>\n\u003cp>It’s the kind of one-two punch that made people who didn’t even know him at the time, like actress Danai Gurira, feel proud.\u003c/p>\n\u003cp>“I had been at Sundance the same time he was there with \u003cem>Fruitvale Station\u003c/em>. I had so much respect and pride,” Gurira said. “I had never met him but I was proud of him, of what he’d done and how he’d moved forward in the world and told stories that needed to be told.”\u003c/p>\n\u003cp>Still, \u003cem>Black Panther\u003c/em> was going to be a huge leap, even if odds that it would “suck” were slim. Coogler, 31, was used to making personal films at his own speed. This was a different beast — with visual effects, a huge ensemble cast and set pieces that would make any veteran filmmaker wake up in a cold sweat.\u003c/p>\n\u003cp>“This is the first project that I ever did that I felt like I had to make peace with the fact that I would never be caught up in my work,” Coogler said. “I had to figure out how to let myself rest. You could work 24 hours a day and it still wouldn’t be enough on a film like this. There’s so much happening and so many decisions to be made.”\u003c/p>\n\u003cp>“I had to learn to be more efficient,” he added. “I got to learn how to do in 30 minutes what it took me two hours to do on the last movie.”\u003c/p>\n\u003cp>To help, Coogler surrounded himself with a handful of constants, like his muse Michael B. Jordan, cinematographer Rachel Morrison, production designer Hannah Beachler and editor Michael Shawver, and got used to trusting those he hired to go off and do their jobs while he did his, knowing that he couldn’t get hung up on details like what color someone’s shoes would be. That’s what Oscar-nominated costume designer Ruth E. Carter was there for, after all.\u003c/p>\n\u003cp>And Jordan, who starred in both \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, said Coogler handled the pressure well.\u003c/p>\n\u003cp>“I didn’t have as much time as I usually have with him. He had so many other things to tackle,” Jordan said. “But other than that he’s the same guy and that’s what makes Ryan Ryan. He’s unapologetically who he is 24-7. And he’s consistent. A lot of people can’t say that about themselves. We’re still blasting music in between set-ups and takes and everybody on the crew was feeling like a big family. It was awesome.”\u003c/p>\n\u003cp>On \u003cem>Black Panther\u003c/em>, Jordan just wanted to be there to support his friend when he needed it — Coogler always did it for him.\u003c/p>\n\u003cp>“Every movie that we’ve done I’ve been in some physically uncomfortable situations whether it’s being freezing cold out somewhere or taking a punch or being in some extreme situation. Ryan? If I’m cold he’s going to be cold. If I’m in some thin T-shirt or shirtless or in the elements, he’s going to take his shirt off too and be right there with his actor,” Jordan said. “He’s willing to do whatever it is, whatever the actor is going through so we can do it together. That’s a testament to him, man, teamwork, just being there for each other. I think that’s rare. And it makes you want to follow him even more. He’s a great leader.”\u003c/p>\n\u003cp>Even recruits to the Coogler universe like Daniel Kaluuya and Letitia Wright felt part of the “family.”\u003c/p>\n\u003cp>“I don’t have the work, the credentials such as my other cast mates,” said Wright. “I’m still piecing my career together. But he never made me feel less than, he never made me feel like I’m a newcomer.”\u003c/p>\n\u003cp>Kaluuya felt similarly.\u003c/p>\n\u003cp>“He sees people. He sees the content of their character. And he’s smart, he’s deeply intelligent. You can see it in his films. Not every 30-year-old could do this,” Kaluuya said. “He’s a special, special director.”\u003c/p>\n\u003cp>Coogler ultimately began to trust that the Marvel Studios execs actually did want him to make his own decisions and the deliver the film he always wanted to. Now he just hopes what he’s made isn’t going to fade.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The fear I have is that you make something that’s like dispensable, disposable, something somebody watches and forgets. I like movies that you can go back to. Movies that feel like they were always around, as soon as you see it, it feels like it was always there,” Coogler said. “The worst thing in the world is to make this movie and be like, “Oh that was ok and on to the next.” Especially not for this one. It’s like you’ve got one shot, you’ve got to get this right.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan Coogler was feeling overwhelmed by \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>It was only his third feature film and, at just 30-years-old, he was making it with Hollywood’s most powerful studio under enormous cultural expectations and with $200 million to get it right.\u003c/p>\n\u003cp>And he really didn’t want it to “suck” (his word).\u003c/p>\n\u003cp>The Oakland, California, native got into filmmaking almost on a lark when a creative writing professor at St. Mary’s College in Moraga, California, where he was attending on a football scholarship, suggested he look into screenwriting. He had thought he would play football and be a doctor, maybe, to help his community. But this idea of being a filmmaker took hold, and after making a splash at the USC School of Cinematic Arts, he had solidified himself as one of the most promising and vibrant young directors to watch.\u003c/p>\n\u003cp>His first feature, the indie \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant III, put him on the map after winning the Sundance Grand Jury and Audience prizes in 2013, a handful of critics groups awards and a Film Independent Spirit Award. His second, the \u003cem>Rocky\u003c/em> spin-off \u003cem>Creed\u003c/em>, put him on another level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The $35 million film grossed over $173 million worldwide and reinvigorated a franchise for Warner Bros.\u003c/p>\n\u003cp>It’s the kind of one-two punch that made people who didn’t even know him at the time, like actress Danai Gurira, feel proud.\u003c/p>\n\u003cp>“I had been at Sundance the same time he was there with \u003cem>Fruitvale Station\u003c/em>. I had so much respect and pride,” Gurira said. “I had never met him but I was proud of him, of what he’d done and how he’d moved forward in the world and told stories that needed to be told.”\u003c/p>\n\u003cp>Still, \u003cem>Black Panther\u003c/em> was going to be a huge leap, even if odds that it would “suck” were slim. Coogler, 31, was used to making personal films at his own speed. This was a different beast — with visual effects, a huge ensemble cast and set pieces that would make any veteran filmmaker wake up in a cold sweat.\u003c/p>\n\u003cp>“This is the first project that I ever did that I felt like I had to make peace with the fact that I would never be caught up in my work,” Coogler said. “I had to figure out how to let myself rest. You could work 24 hours a day and it still wouldn’t be enough on a film like this. There’s so much happening and so many decisions to be made.”\u003c/p>\n\u003cp>“I had to learn to be more efficient,” he added. “I got to learn how to do in 30 minutes what it took me two hours to do on the last movie.”\u003c/p>\n\u003cp>To help, Coogler surrounded himself with a handful of constants, like his muse Michael B. Jordan, cinematographer Rachel Morrison, production designer Hannah Beachler and editor Michael Shawver, and got used to trusting those he hired to go off and do their jobs while he did his, knowing that he couldn’t get hung up on details like what color someone’s shoes would be. That’s what Oscar-nominated costume designer Ruth E. Carter was there for, after all.\u003c/p>\n\u003cp>And Jordan, who starred in both \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, said Coogler handled the pressure well.\u003c/p>\n\u003cp>“I didn’t have as much time as I usually have with him. He had so many other things to tackle,” Jordan said. “But other than that he’s the same guy and that’s what makes Ryan Ryan. He’s unapologetically who he is 24-7. And he’s consistent. A lot of people can’t say that about themselves. We’re still blasting music in between set-ups and takes and everybody on the crew was feeling like a big family. It was awesome.”\u003c/p>\n\u003cp>On \u003cem>Black Panther\u003c/em>, Jordan just wanted to be there to support his friend when he needed it — Coogler always did it for him.\u003c/p>\n\u003cp>“Every movie that we’ve done I’ve been in some physically uncomfortable situations whether it’s being freezing cold out somewhere or taking a punch or being in some extreme situation. Ryan? If I’m cold he’s going to be cold. If I’m in some thin T-shirt or shirtless or in the elements, he’s going to take his shirt off too and be right there with his actor,” Jordan said. “He’s willing to do whatever it is, whatever the actor is going through so we can do it together. That’s a testament to him, man, teamwork, just being there for each other. I think that’s rare. And it makes you want to follow him even more. He’s a great leader.”\u003c/p>\n\u003cp>Even recruits to the Coogler universe like Daniel Kaluuya and Letitia Wright felt part of the “family.”\u003c/p>\n\u003cp>“I don’t have the work, the credentials such as my other cast mates,” said Wright. “I’m still piecing my career together. But he never made me feel less than, he never made me feel like I’m a newcomer.”\u003c/p>\n\u003cp>Kaluuya felt similarly.\u003c/p>\n\u003cp>“He sees people. He sees the content of their character. And he’s smart, he’s deeply intelligent. You can see it in his films. Not every 30-year-old could do this,” Kaluuya said. “He’s a special, special director.”\u003c/p>\n\u003cp>Coogler ultimately began to trust that the Marvel Studios execs actually did want him to make his own decisions and the deliver the film he always wanted to. Now he just hopes what he’s made isn’t going to fade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.clusterfest.com/\" rel=\"noopener\" target=\"_blank\">Clusterfest\u003c/a> returns to San Francisco this June, and it will feature the first live performance ever of the Berkeley-born comedy trio Lonely Island.\u003c/p>\n\u003cp>[contextly_sidebar id=”LEB7i4RtNl0oDLFaSlfd6rT876LIYo9Z”]\u003c/p>\n\u003cp>The re-titled “Comedy Central Presents Clusterfest” (apparently it’s no longer “colossal”) will also feature comic acts such as Amy Schumer, Tiffany Haddish, \u003cem>Saturday Night Live\u003c/em>’s Michael Che, and former \u003ci>Daily Show\u003c/i> host Jon Stewart, who will be performing for the first time on the west coast in 15 years. Just like last year, there will also be musical acts, such as San Francisco’s own Third Eye Blind, legacy hip hop trio Salt-N-Pepa, and food-lovin’ rapper Action Bronson. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OFWIPRJfrVU\u003c/p>\n\u003cp>Last year’s Clusterfest \u003ca href=\"https://www.forbes.com/sites/russespinoza/2017/06/30/after-breaking-the-mold-will-comedy-centrals-colossal-clusterfest-strive-for-more/#5ab7a1a238e8\" rel=\"noopener\" target=\"_blank\">reported 45,000 attendees\u003c/a>, so its return is no surprise. Comedy Central president Kent Alterman told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Clusterfest-returns-to-SF-with-Jon-Stewart-12609069.php\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that “we couldn’t imagine any reason not to do it again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the 70-plus act lineup is almost completely different from last year, the structure stays the same. Also, popular installations such as the \u003cem>South Park\u003c/em> County Fair and Paddy’s Pub from \u003cem>It’s Always Sunny in Philadelphia\u003c/em> will return, but the apartment from \u003ci>Seinfeld\u003c/i> will be replaced by Nickelodeon’s \u003cem>Double Dare\u003c/em> course and \u003cem>The Daily Show\u003c/em> Presents: The Donald J. Trump Presidential Twitter Library.\u003c/p>\n\u003cp>Having the Lonely Island play their first concert in San Francisco is befitting of the trio best known for movies such as \u003ci>Popstar: Never Stop Never Stopping\u003c/i> and viral videos like “\u003ca href=\"https://www.youtube.com/watch?v=sRhTeaa_B98\" rel=\"noopener\" target=\"_blank\">Lazy Sunday\u003c/a>.” The group formed in Berkeley in 2001, though the three members — Akiva Schaffer, Andy Samberg, and Jorma Taccone — had been friends since the ’90s, when they all attended Willard Junior High School. Despite having released three albums, the band has only performed live twice: at the 2015 Emmy Awards and the 2016 MTV Music Awards. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYbhKBWt2ig\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for all three days of Clusterfest start at $234.50, with VIP packages going for $600 or more. For tickets or to see the rest of the lineup, visit \u003ca href=\"https://www.clusterfest.com\" rel=\"noopener\" target=\"_blank\">www.clusterfest.com.\u003c/a>\u003c/p>\n\n",
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"excerpt": "The Berkeley-born comedy music trio Lonely Island will perform their first ever concert in San Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.clusterfest.com/\" rel=\"noopener\" target=\"_blank\">Clusterfest\u003c/a> returns to San Francisco this June, and it will feature the first live performance ever of the Berkeley-born comedy trio Lonely Island.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The re-titled “Comedy Central Presents Clusterfest” (apparently it’s no longer “colossal”) will also feature comic acts such as Amy Schumer, Tiffany Haddish, \u003cem>Saturday Night Live\u003c/em>’s Michael Che, and former \u003ci>Daily Show\u003c/i> host Jon Stewart, who will be performing for the first time on the west coast in 15 years. Just like last year, there will also be musical acts, such as San Francisco’s own Third Eye Blind, legacy hip hop trio Salt-N-Pepa, and food-lovin’ rapper Action Bronson. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OFWIPRJfrVU'\n title='//www.youtube.com/embed/OFWIPRJfrVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last year’s Clusterfest \u003ca href=\"https://www.forbes.com/sites/russespinoza/2017/06/30/after-breaking-the-mold-will-comedy-centrals-colossal-clusterfest-strive-for-more/#5ab7a1a238e8\" rel=\"noopener\" target=\"_blank\">reported 45,000 attendees\u003c/a>, so its return is no surprise. Comedy Central president Kent Alterman told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Clusterfest-returns-to-SF-with-Jon-Stewart-12609069.php\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that “we couldn’t imagine any reason not to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the 70-plus act lineup is almost completely different from last year, the structure stays the same. Also, popular installations such as the \u003cem>South Park\u003c/em> County Fair and Paddy’s Pub from \u003cem>It’s Always Sunny in Philadelphia\u003c/em> will return, but the apartment from \u003ci>Seinfeld\u003c/i> will be replaced by Nickelodeon’s \u003cem>Double Dare\u003c/em> course and \u003cem>The Daily Show\u003c/em> Presents: The Donald J. Trump Presidential Twitter Library.\u003c/p>\n\u003cp>Having the Lonely Island play their first concert in San Francisco is befitting of the trio best known for movies such as \u003ci>Popstar: Never Stop Never Stopping\u003c/i> and viral videos like “\u003ca href=\"https://www.youtube.com/watch?v=sRhTeaa_B98\" rel=\"noopener\" target=\"_blank\">Lazy Sunday\u003c/a>.” The group formed in Berkeley in 2001, though the three members — Akiva Schaffer, Andy Samberg, and Jorma Taccone — had been friends since the ’90s, when they all attended Willard Junior High School. Despite having released three albums, the band has only performed live twice: at the 2015 Emmy Awards and the 2016 MTV Music Awards. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kYbhKBWt2ig'\n title='//www.youtube.com/embed/kYbhKBWt2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Tickets for all three days of Clusterfest start at $234.50, with VIP packages going for $600 or more. For tickets or to see the rest of the lineup, visit \u003ca href=\"https://www.clusterfest.com\" rel=\"noopener\" target=\"_blank\">www.clusterfest.com.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mission District Photographer's Final Show Becomes a Memorial",
"headTitle": "Mission District Photographer’s Final Show Becomes a Memorial | KQED",
"content": "\u003cp>In a fitting tribute to recently-passed photographer Ted Pushinsky, his memorial will be held the night his final exhibit closes.\u003c/p>\n\u003cp>\u003ci>Local Stories: Photos of San Francisco\u003c/i> ends its run at Acción Latina’s Juan R. Fuentes Gallery on Feb. 24. That night, the gallery \u003ca href=\"http://accionlatina.org/en/ted-pushinsky-community-memorial/\" rel=\"noopener\" target=\"_blank\">hosts a public memorial\u003c/a> for the 71-year-old photographer who died last month of prostate cancer.\u003c/p>\n\u003cp>Pushinsky, who documented life in San Francisco’s Mission District for decades, died on Jan. 23 — nine days after \u003ci>Local Stories\u003c/i> opened. The opening of the exhibit, which features photos from his 30 years in the neighborhood, had been the “most well attended exhibition opening ever” at the gallery, according to \u003ca href=\"https://www.instagram.com/p/Bd8A4fojbe7\" rel=\"noopener\" target=\"_blank\">Acción Latina\u003c/a>.\u003c/p>\n\u003cp>“We broke every attendance record we’ve had. Ever,” Acción Latina co-curator Josue Rojas said. “People have made pilgrimages from far and wide to come see his work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" class=\"aligncenter size-medium wp-image-13824116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Queens, New York, in 1946, Pushinsky moved to San Francisco in 1969. There, he hustled photography work, landing gigs with the San Francisco Ballet, the boxing magazine \u003ci>Ring\u003c/i> and whatever else came his way. \u003c/p>\n\u003cp>But his love was street photography. His wife and son say Pushinsky always had a camera on him and that he frequented the streets of the Mission District, which was nearby his house on Potrero Hill. He could be seen often cruising up and down 24th Street, talking with people and taking their photos. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“He created a unique community by walking the streets of SF and meeting and talking with people on the way,” Pushinsky’s wife Kathy Katz said.\u003c/p>\n\u003cp>Pushinsky said that he spent so much time in the Mission because it felt like being in another country. \u003c/p>\n\u003cp>“When I was still a teenager, I lived in Mexico City and it was a real revelation for me, I was mad for it. I never wanted to close my eyes. Not too long after that, I moved to San Francisco and I moved into the neighborhood and, oh my God, I was back in Mexico,” Pushinsky told \u003ca href=\"http://eltecolote.org/content/en/arts_culture/mad-for-the-mission-ted-pushinsky-talks-documenting-the-mission-over-30-years/\" rel=\"noopener\" target=\"_blank\">El Tecolote last month\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/49-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In later years, Pushinsky became a mentor of sorts. He began contributing to Ray Potes’s \u003ci>Hamburger Eyes\u003c/i> photography zine in the early 2000s, and when Potes opened the Photo Epicenter gallery on 24th Street, Pushinsky spent hours there, hanging out and giving advice to the young photogs that began congregating there. \u003c/p>\n\u003cp>“It was huge because were were young and didn’t know what we were doing, so to have him want to hang out with us meant a lot,” Potes says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.motherjones.com/author/mark-murrmann/\" rel=\"noopener\" target=\"_blank\">Mark Murrmann\u003c/a>, photo editor at \u003cem>Mother Jones\u003c/em> magazine, says that \u003ci>Hamburger Eyes\u003c/i> and its gallery helped ignite a new generation of street photographers, and that Pushinsky’s influence on that scene “can’t be overstated.”\u003c/p>\n\u003cp>“He was always so enthusiastic and supportive of other people’s work. And even though he’d been shooting for years before most of the younger people were even born, he was so humble and helpful,” Murrmann said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" class=\"aligncenter size-medium wp-image-13824114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--960x684.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--520x370.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Pushinsky’s son Jake says he doesn’t think his father saw himself as a mentor because “he was always young at heart.”\u003c/p>\n\u003cp>“When he talked about younger photographers, he called them his peers,” Jake Pushinsky said.\u003c/p>\n\u003cp>Rojas says Pushinsky will continue to inspire other photogs with the large body of work he left behind.\u003c/p>\n\u003cp>“It makes you want to carry a camera around your neck and go out and experience something,” Rojas said. \u003c/p>\n\u003cfigure id=\"attachment_13824302\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg\" alt=\"Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13824302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \u003ccite>(Courtesy of Jake Pushinsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pushinsky was diagnosed with prostate cancer in 2009. His family said he had been unwell and “had used up all of his treatment options.” He leaves behind his wife of 45 years, a son, a daughter and two grandsons.\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>‘Local Stories: Photos of San Francisco’ runs through Feb. 24 at Acción Latina’s Juan R. Fuentes Gallery (2958 24th Street). A memorial for Ted Pushinsky will be held closing night, Feb. 24, from 3–6pm.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a fitting tribute to recently-passed photographer Ted Pushinsky, his memorial will be held the night his final exhibit closes.\u003c/p>\n\u003cp>\u003ci>Local Stories: Photos of San Francisco\u003c/i> ends its run at Acción Latina’s Juan R. Fuentes Gallery on Feb. 24. That night, the gallery \u003ca href=\"http://accionlatina.org/en/ted-pushinsky-community-memorial/\" rel=\"noopener\" target=\"_blank\">hosts a public memorial\u003c/a> for the 71-year-old photographer who died last month of prostate cancer.\u003c/p>\n\u003cp>Pushinsky, who documented life in San Francisco’s Mission District for decades, died on Jan. 23 — nine days after \u003ci>Local Stories\u003c/i> opened. The opening of the exhibit, which features photos from his 30 years in the neighborhood, had been the “most well attended exhibition opening ever” at the gallery, according to \u003ca href=\"https://www.instagram.com/p/Bd8A4fojbe7\" rel=\"noopener\" target=\"_blank\">Acción Latina\u003c/a>.\u003c/p>\n\u003cp>“We broke every attendance record we’ve had. Ever,” Acción Latina co-curator Josue Rojas said. “People have made pilgrimages from far and wide to come see his work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" class=\"aligncenter size-medium wp-image-13824116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/56popo1ak1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Queens, New York, in 1946, Pushinsky moved to San Francisco in 1969. There, he hustled photography work, landing gigs with the San Francisco Ballet, the boxing magazine \u003ci>Ring\u003c/i> and whatever else came his way. \u003c/p>\n\u003cp>But his love was street photography. His wife and son say Pushinsky always had a camera on him and that he frequented the streets of the Mission District, which was nearby his house on Potrero Hill. He could be seen often cruising up and down 24th Street, talking with people and taking their photos. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/P1050403-copy-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“He created a unique community by walking the streets of SF and meeting and talking with people on the way,” Pushinsky’s wife Kathy Katz said.\u003c/p>\n\u003cp>Pushinsky said that he spent so much time in the Mission because it felt like being in another country. \u003c/p>\n\u003cp>“When I was still a teenager, I lived in Mexico City and it was a real revelation for me, I was mad for it. I never wanted to close my eyes. Not too long after that, I moved to San Francisco and I moved into the neighborhood and, oh my God, I was back in Mexico,” Pushinsky told \u003ca href=\"http://eltecolote.org/content/en/arts_culture/mad-for-the-mission-ted-pushinsky-talks-documenting-the-mission-over-30-years/\" rel=\"noopener\" target=\"_blank\">El Tecolote last month\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/49-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13824115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/49-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In later years, Pushinsky became a mentor of sorts. He began contributing to Ray Potes’s \u003ci>Hamburger Eyes\u003c/i> photography zine in the early 2000s, and when Potes opened the Photo Epicenter gallery on 24th Street, Pushinsky spent hours there, hanging out and giving advice to the young photogs that began congregating there. \u003c/p>\n\u003cp>“It was huge because were were young and didn’t know what we were doing, so to have him want to hang out with us meant a lot,” Potes says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.motherjones.com/author/mark-murrmann/\" rel=\"noopener\" target=\"_blank\">Mark Murrmann\u003c/a>, photo editor at \u003cem>Mother Jones\u003c/em> magazine, says that \u003ci>Hamburger Eyes\u003c/i> and its gallery helped ignite a new generation of street photographers, and that Pushinsky’s influence on that scene “can’t be overstated.”\u003c/p>\n\u003cp>“He was always so enthusiastic and supportive of other people’s work. And even though he’d been shooting for years before most of the younger people were even born, he was so humble and helpful,” Murrmann said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" class=\"aligncenter size-medium wp-image-13824114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--960x684.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/boysgirlsa.jpg--520x370.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Pushinsky’s son Jake says he doesn’t think his father saw himself as a mentor because “he was always young at heart.”\u003c/p>\n\u003cp>“When he talked about younger photographers, he called them his peers,” Jake Pushinsky said.\u003c/p>\n\u003cp>Rojas says Pushinsky will continue to inspire other photogs with the large body of work he left behind.\u003c/p>\n\u003cp>“It makes you want to carry a camera around your neck and go out and experience something,” Rojas said. \u003c/p>\n\u003cfigure id=\"attachment_13824302\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg\" alt=\"Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13824302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TEd-Pushinsky-in-NY-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Ted Pushinsky in 2014, in front of his childhood apartment building in Woodside, Queens, NY where he lived until he was about 9 or 10 years old. \u003ccite>(Courtesy of Jake Pushinsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pushinsky was diagnosed with prostate cancer in 2009. His family said he had been unwell and “had used up all of his treatment options.” He leaves behind his wife of 45 years, a son, a daughter and two grandsons.\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>‘Local Stories: Photos of San Francisco’ runs through Feb. 24 at Acción Latina’s Juan R. Fuentes Gallery (2958 24th Street). A memorial for Ted Pushinsky will be held closing night, Feb. 24, from 3–6pm.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the second straight year, President Donald Trump is calling for the elimination of the National Endowment of the Arts and National Endowment of the Humanities.\u003c/p>\n\u003cp>In the budget proposal unveiled Monday, Trump asks that both organizations begin to shut down in 2019, saying the NEA and NEH should not be federal responsibilities.\u003c/p>\n\u003cp>The two grant programs were launched as part of Lyndon Johnson’s “Great Society” domestic agenda in the 1960s. Some conservatives have long criticized them, but the NEH and NEA have bipartisan support in Congress, which last year voted to restore funding. The budget for each agency is slightly under $150 million.\u003c/p>\n\u003cp>Trump is also again seeking to end federal support for the Corporation for Public Broadcasting, which also has strong backing in Congress.\u003c/p>\n\u003cp>\u003ci>Below is the statement from National Endowment for the Arts Chairman Jane Chu on the proposed 2019 budget:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>\nToday we learned that the President’s FY 2019 budget proposes elimination of the National Endowment for the Arts. We are disappointed because we see our funding actively making a difference with individuals in thousands of communities and in every Congressional District in the nation.\u003c/p>\n\u003cp>In FY 2018 to date, the NEA has awarded 1,134 grants totaling $26.68 million to organizations and individuals in all 50 states plus the District of Columbia and Puerto Rico, launched a national songwriting competition for high school students, convened four summits across the country as part of Creative Forces: NEA Military Healing Arts Network, issued a research report on the economic impact of the arts in rural communities, and distributed emergency funding to arts agencies in Florida, Texas, Puerto Rico, and the U.S. Virgin Islands, among other activities.\u003c/p>\n\u003cp>We understand that the President’s budget request is a first step in a very long budget process. We stand ready to assist in that process as we continue to operate as usual.\u003c/p>\n\u003cp>As a federal government agency, the NEA cannot engage in advocacy, either directly or indirectly. We will, however, continue our practice of educating about the NEA’s vital role in serving our nation’s communities.\n\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the second straight year, President Donald Trump is calling for the elimination of the National Endowment of the Arts and National Endowment of the Humanities.\u003c/p>\n\u003cp>In the budget proposal unveiled Monday, Trump asks that both organizations begin to shut down in 2019, saying the NEA and NEH should not be federal responsibilities.\u003c/p>\n\u003cp>The two grant programs were launched as part of Lyndon Johnson’s “Great Society” domestic agenda in the 1960s. Some conservatives have long criticized them, but the NEH and NEA have bipartisan support in Congress, which last year voted to restore funding. The budget for each agency is slightly under $150 million.\u003c/p>\n\u003cp>Trump is also again seeking to end federal support for the Corporation for Public Broadcasting, which also has strong backing in Congress.\u003c/p>\n\u003cp>\u003ci>Below is the statement from National Endowment for the Arts Chairman Jane Chu on the proposed 2019 budget:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>\nToday we learned that the President’s FY 2019 budget proposes elimination of the National Endowment for the Arts. We are disappointed because we see our funding actively making a difference with individuals in thousands of communities and in every Congressional District in the nation.\u003c/p>\n\u003cp>In FY 2018 to date, the NEA has awarded 1,134 grants totaling $26.68 million to organizations and individuals in all 50 states plus the District of Columbia and Puerto Rico, launched a national songwriting competition for high school students, convened four summits across the country as part of Creative Forces: NEA Military Healing Arts Network, issued a research report on the economic impact of the arts in rural communities, and distributed emergency funding to arts agencies in Florida, Texas, Puerto Rico, and the U.S. Virgin Islands, among other activities.\u003c/p>\n\u003cp>We understand that the President’s budget request is a first step in a very long budget process. We stand ready to assist in that process as we continue to operate as usual.\u003c/p>\n\u003cp>As a federal government agency, the NEA cannot engage in advocacy, either directly or indirectly. We will, however, continue our practice of educating about the NEA’s vital role in serving our nation’s communities.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Reproductions of Famous Paintings Cover Former Green Day High School",
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"content": "\u003cp>\u003ca href=\"https://www.wccusd.net/pinolevalley\" target=\"_blank\" rel=\"noopener\">Pinole Valley High School\u003c/a> in the East Bay already has one big claim to fame: t\u003cspan style=\"font-weight: 400\">wo members of the rock band \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a> were students there before they made it big. Now the school is earning a reputation for a different type of art, as its fast-growing collection of outdoor murals is transforming the campus — and the lives of its students.\u003c/span>\u003c/p>\n\u003cp>But to newcomers, Pinole Valley High doesn’t look much like a hotbed of artistic creativity. \u003cspan style=\"font-weight: 400\">Half the campus is a building site. The other half is a sprawl of squat mobile buildings. Principal Kibby Kleiman says his students and staff are stuck in the temporary structures for at least five years while the school undergoes renovations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13820103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg\" alt=\"A part of the Pinole Valley High School campus that isn’t yet adorned with art.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A part of the Pinole Valley High School campus that isn’t yet completely adorned with art. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everything is in a portable,” Kleiman says. “My office is a portable. The bathrooms are portables. This book room, that library, are portable. There’s a multipurpose room that’s just kind of a bigger portable.”\u003c/p>\n\u003cp>When the school moved into the mobiles in 2014, Kleiman feared the uninspiring environment would lower morale, and even cause dropouts. Then art teacher Jan Barzottini came along, with bright ideas and a great sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13820102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg\" alt=\"Art teacher Jan Barzottini right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art teacher Jan Barzottini (right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s one kid this year who calls me Miss Fettuccini,” Barzottini jokes. “He has a whole realm of Italian foods that he calls me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where most of her colleagues and students saw nothing but cheaply-constructed, cookie-cutter portables with walls the color of sludge, Barzottini saw a big, open canvas. She recruited students to cover the brown facades with reproductions of famous works of art.\u003c/p>\n\u003cp>“You see Roy De Forest on the right, you see a glimpse of Jasper Johns on the left, and you’ve got Diego Rivera right next to you,” Barzottini says as we tour the campus, checking out the many student murals that adorn the mobile walls. “So every time you turn a corner, there should be something that catches your eye and either identifies where you are or adds a little bit of color to your day.”\u003c/p>\n\u003cfigure id=\"attachment_13820101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg\" alt=\"Pinole Valley High students pose in front of their work.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High students pose in front of their work. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though the students are working with fairly rudimentary tools — house paint, brushes and canvases made out of wooden boards — Barzottini is proud of the care they have taken to recreate the masterworks.\u003c/p>\n\u003cp>“This is Diego Rivera,” Barzottini says as we pause in front of a student reproduction of the artist’s painting depicting two girls washing their hair outdoors in front of a field of sunflowers. “A lot of different blending techniques to get all the ripples in their skirts.”\u003c/p>\n\u003cp>At first, Barzottini focused on 20th century masterworks because they’re bold, colorful and relatively easy to paint. “And that gave the kids confidence,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13820100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg\" alt=\"Student Jason Capuyan works on his mural -- the cover art for Green Days 1994 album ‘Dookie’.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Jason Capuyan works on his mural — the cover art for Green Days 1994 album ‘Dookie’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon the students started seeking inspiration outside the realm of traditional museum art.\u003c/p>\n\u003cp>When I visit Barzottini’s classroom, I chat with 18-year-old student Jason Capuyan as he painstakingly recreates the intricate cover art from Green Day’s 1994 album \u003cem>Dookie. \u003c/em>It’s a tribute to his musical heroes. “I listen to them a lot,” Capuyan says.\u003c/p>\n\u003cp>Capuyan spends his lunch breaks working on his mural and loves how art is transforming the campus. “The environment is a little more vivid now because we have more murals and bright colors popping up,” Capuyan says.\u003c/p>\n\u003cp>Principal Kleiman says around 150 students have participated in the project, including students who don’t even take art class.\u003c/p>\n\u003cfigure id=\"attachment_13820097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg\" alt=\"Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani's 'Alice'.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani’s ‘Alice’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One recent grad, Shaye Maxey, won a full ride scholarship to San Francisco’s \u003ca href=\"https://www.academyart.edu/\" target=\"_blank\" rel=\"noopener\">Academy of Art University\u003c/a>, partly as a result of her take on “Alice,” a famous 1915 portrait of a young girl by the Italian artist Amedeo Modigliani.\u003c/p>\n\u003cp>“This mural made me feel like I could accomplish a lot more than I thought I could beforehand,” Maxey says.\u003c/p>\n\u003cp>And in the ultimate sign of teen approval, students are snapping selfies in front of the murals and sharing them on \u003ca href=\"https://www.instagram.com/pvhsamazingart/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\">https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\u003c/a>\u003c/p>\n\u003cp>Barzottini says there are around 40 works of art up right now and many more to come.\u003c/p>\n\u003cp>I ask the art teacher when she plans to finish the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When there’s not another speck to fill when you turn a corner,” she responds. “I still see a million corners as we’re walking around. I think it’s going to be a while.”\u003c/p>\n\u003cfigure id=\"attachment_13820105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820105\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg\" alt=\"A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Pinole Valley High School already has a musical claim to fame. Now the East Bay school is earning a reputation for a different type of art. ",
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"title": "Reproductions of Famous Paintings Cover Former Green Day High School | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.wccusd.net/pinolevalley\" target=\"_blank\" rel=\"noopener\">Pinole Valley High School\u003c/a> in the East Bay already has one big claim to fame: t\u003cspan style=\"font-weight: 400\">wo members of the rock band \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a> were students there before they made it big. Now the school is earning a reputation for a different type of art, as its fast-growing collection of outdoor murals is transforming the campus — and the lives of its students.\u003c/span>\u003c/p>\n\u003cp>But to newcomers, Pinole Valley High doesn’t look much like a hotbed of artistic creativity. \u003cspan style=\"font-weight: 400\">Half the campus is a building site. The other half is a sprawl of squat mobile buildings. Principal Kibby Kleiman says his students and staff are stuck in the temporary structures for at least five years while the school undergoes renovations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13820103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg\" alt=\"A part of the Pinole Valley High School campus that isn’t yet adorned with art.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/campus.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A part of the Pinole Valley High School campus that isn’t yet completely adorned with art. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everything is in a portable,” Kleiman says. “My office is a portable. The bathrooms are portables. This book room, that library, are portable. There’s a multipurpose room that’s just kind of a bigger portable.”\u003c/p>\n\u003cp>When the school moved into the mobiles in 2014, Kleiman feared the uninspiring environment would lower morale, and even cause dropouts. Then art teacher Jan Barzottini came along, with bright ideas and a great sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13820102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg\" alt=\"Art teacher Jan Barzottini right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/jan-and-shaye.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art teacher Jan Barzottini (right) poses with recent grad Shaye Maxey. Maxey won a full ride scholarship to the Academy of Art University, partly for her work on the mural project. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s one kid this year who calls me Miss Fettuccini,” Barzottini jokes. “He has a whole realm of Italian foods that he calls me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where most of her colleagues and students saw nothing but cheaply-constructed, cookie-cutter portables with walls the color of sludge, Barzottini saw a big, open canvas. She recruited students to cover the brown facades with reproductions of famous works of art.\u003c/p>\n\u003cp>“You see Roy De Forest on the right, you see a glimpse of Jasper Johns on the left, and you’ve got Diego Rivera right next to you,” Barzottini says as we tour the campus, checking out the many student murals that adorn the mobile walls. “So every time you turn a corner, there should be something that catches your eye and either identifies where you are or adds a little bit of color to your day.”\u003c/p>\n\u003cfigure id=\"attachment_13820101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg\" alt=\"Pinole Valley High students pose in front of their work.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/students-and-mural-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High students pose in front of their work. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though the students are working with fairly rudimentary tools — house paint, brushes and canvases made out of wooden boards — Barzottini is proud of the care they have taken to recreate the masterworks.\u003c/p>\n\u003cp>“This is Diego Rivera,” Barzottini says as we pause in front of a student reproduction of the artist’s painting depicting two girls washing their hair outdoors in front of a field of sunflowers. “A lot of different blending techniques to get all the ripples in their skirts.”\u003c/p>\n\u003cp>At first, Barzottini focused on 20th century masterworks because they’re bold, colorful and relatively easy to paint. “And that gave the kids confidence,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13820100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg\" alt=\"Student Jason Capuyan works on his mural -- the cover art for Green Days 1994 album ‘Dookie’.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jason-Capuyan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Jason Capuyan works on his mural — the cover art for Green Days 1994 album ‘Dookie’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon the students started seeking inspiration outside the realm of traditional museum art.\u003c/p>\n\u003cp>When I visit Barzottini’s classroom, I chat with 18-year-old student Jason Capuyan as he painstakingly recreates the intricate cover art from Green Day’s 1994 album \u003cem>Dookie. \u003c/em>It’s a tribute to his musical heroes. “I listen to them a lot,” Capuyan says.\u003c/p>\n\u003cp>Capuyan spends his lunch breaks working on his mural and loves how art is transforming the campus. “The environment is a little more vivid now because we have more murals and bright colors popping up,” Capuyan says.\u003c/p>\n\u003cp>Principal Kleiman says around 150 students have participated in the project, including students who don’t even take art class.\u003c/p>\n\u003cfigure id=\"attachment_13820097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg\" alt=\"Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani's 'Alice'.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/shaye-maxey.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinole Valley High School grad Shaye Maxey poses with her mural, a reproduction of Modigliani’s ‘Alice’. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One recent grad, Shaye Maxey, won a full ride scholarship to San Francisco’s \u003ca href=\"https://www.academyart.edu/\" target=\"_blank\" rel=\"noopener\">Academy of Art University\u003c/a>, partly as a result of her take on “Alice,” a famous 1915 portrait of a young girl by the Italian artist Amedeo Modigliani.\u003c/p>\n\u003cp>“This mural made me feel like I could accomplish a lot more than I thought I could beforehand,” Maxey says.\u003c/p>\n\u003cp>And in the ultimate sign of teen approval, students are snapping selfies in front of the murals and sharing them on \u003ca href=\"https://www.instagram.com/pvhsamazingart/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\">https://www.instagram.com/p/BcLcq0jhx2W/?hl=en&taken-by=pvhsamazingart\u003c/a>\u003c/p>\n\u003cp>Barzottini says there are around 40 works of art up right now and many more to come.\u003c/p>\n\u003cp>I ask the art teacher when she plans to finish the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When there’s not another speck to fill when you turn a corner,” she responds. “I still see a million corners as we’re walking around. I think it’s going to be a while.”\u003c/p>\n\u003cfigure id=\"attachment_13820105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820105\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg\" alt=\"A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/gumball-mural-thiebaud.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A student reproduction of Wayne Thiebaud’s ‘Three Machines’. The original hangs in the de Young Museum in San Francisco. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A judge awarded $6.7 million Monday to graffiti artists who sued after dozens of spray paintings were destroyed on the walls of dilapidated warehouse buildings torn down to make room for high-rise luxury residences.\u003c/p>\n\u003cp>U.S. District Judge Frederic Block in Brooklyn said 45 of the 49 paintings were recognized works of art “wrongfully and willfully destroyed” by a remorseless landlord.\u003c/p>\n\u003cp>Twenty-one aerosol artists had sued the owner of a Long Island City, Queens, site known as 5Pointz under the Visual Rights Act, a 1990 federal law that protects artists’ rights even if someone else owns the physical artwork. Their graffiti was painted over in 2013, and the buildings were torn down a year later.\u003c/p>\n\u003cp>Before they vanished, the graffiti artworks became a tourist attraction, drawing thousands of spectators daily and forming a backdrop to the 2013 movie, “Now You See Me,” and a site for an Usher tour, the judge noted.\u003c/p>\n\u003cp>All the while, the crime-ridden neighborhood gradually improved and it became the “world’s largest collection of quality outdoor aerosol art,” though a system set up by the artists meant some paintings were temporary while others were given permanent status, Block wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ruling followed a three-week trial in November, when Block said the “respectful, articulate and credible” artists testified about “striking technical and artistic mastery and vision worthy of display in prominent museums if not on the walls of 5Pointz.”\u003c/p>\n\u003cp>He noted one artist came from London, another from rural West Virginia, while others were products of prestigious art schools. Some were self-taught.\u003c/p>\n\u003cp>He said he was impressed with the breadth of the artists’ works and how many works “spoke to the social issues of our times.”\u003c/p>\n\u003cp>Jerry Wolkoff, who owned the buildings, had conceded he allowed the spray-paint artists to use the buildings as a canvas for decades but said they always knew they would be torn down someday. His lawyer, David Ebert, did not immediately respond to a message seeking comment.\u003c/p>\n\u003cp>The artists had once hoped to buy the properties, before their value soared to over $200 million.\u003c/p>\n\u003cp>Block said he hoped the award would give teeth to a federal law that should have kept Wolkoff from demolishing them for at least 10 months, when he had all his permits.\u003cbr>\nArtists then could have easily rescued some paintings from siding, plywood or sheet-rock before the rollers, spray machines and buckets of white paint arrived.\u003c/p>\n\u003cp>“Wolkoff has been singularly unrepentant. He was given multiple opportunities to admit the whitewashing was a mistake, show remorse, or suggest he would do things differently if he had another chance,” Block said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Wolkoff could care less. As he callously testified,” the judge said. “The sloppy, half-hearted nature of the whitewashing left the works easily visible under thin layers of cheap, white paint, reminding the plaintiffs on a daily basis what had happened. The mutilated works were visible by millions of people on the passing 7 train.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A judge awarded $6.7 million Monday to graffiti artists who sued after dozens of spray paintings were destroyed on the walls of dilapidated warehouse buildings torn down to make room for high-rise luxury residences.\u003c/p>\n\u003cp>U.S. District Judge Frederic Block in Brooklyn said 45 of the 49 paintings were recognized works of art “wrongfully and willfully destroyed” by a remorseless landlord.\u003c/p>\n\u003cp>Twenty-one aerosol artists had sued the owner of a Long Island City, Queens, site known as 5Pointz under the Visual Rights Act, a 1990 federal law that protects artists’ rights even if someone else owns the physical artwork. Their graffiti was painted over in 2013, and the buildings were torn down a year later.\u003c/p>\n\u003cp>Before they vanished, the graffiti artworks became a tourist attraction, drawing thousands of spectators daily and forming a backdrop to the 2013 movie, “Now You See Me,” and a site for an Usher tour, the judge noted.\u003c/p>\n\u003cp>All the while, the crime-ridden neighborhood gradually improved and it became the “world’s largest collection of quality outdoor aerosol art,” though a system set up by the artists meant some paintings were temporary while others were given permanent status, Block wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ruling followed a three-week trial in November, when Block said the “respectful, articulate and credible” artists testified about “striking technical and artistic mastery and vision worthy of display in prominent museums if not on the walls of 5Pointz.”\u003c/p>\n\u003cp>He noted one artist came from London, another from rural West Virginia, while others were products of prestigious art schools. Some were self-taught.\u003c/p>\n\u003cp>He said he was impressed with the breadth of the artists’ works and how many works “spoke to the social issues of our times.”\u003c/p>\n\u003cp>Jerry Wolkoff, who owned the buildings, had conceded he allowed the spray-paint artists to use the buildings as a canvas for decades but said they always knew they would be torn down someday. His lawyer, David Ebert, did not immediately respond to a message seeking comment.\u003c/p>\n\u003cp>The artists had once hoped to buy the properties, before their value soared to over $200 million.\u003c/p>\n\u003cp>Block said he hoped the award would give teeth to a federal law that should have kept Wolkoff from demolishing them for at least 10 months, when he had all his permits.\u003cbr>\nArtists then could have easily rescued some paintings from siding, plywood or sheet-rock before the rollers, spray machines and buckets of white paint arrived.\u003c/p>\n\u003cp>“Wolkoff has been singularly unrepentant. He was given multiple opportunities to admit the whitewashing was a mistake, show remorse, or suggest he would do things differently if he had another chance,” Block said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Wolkoff could care less. As he callously testified,” the judge said. “The sloppy, half-hearted nature of the whitewashing left the works easily visible under thin layers of cheap, white paint, reminding the plaintiffs on a daily basis what had happened. The mutilated works were visible by millions of people on the passing 7 train.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"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",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"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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}
},
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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",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"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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"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",
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"meta": {
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"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",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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": {
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"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"
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},
"fresh-air": {
"id": "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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"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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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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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",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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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"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/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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