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"content": "\u003cp>Actor John Mahoney, best-known for his portrayal of the grouchy and sharp-witted father of the title character in the TV show \u003cem>Frasier,\u003c/em> died Sunday. He was 77.\u003c/p>\n\u003cp>The Steppenwolf Theatre Company confirmed his death, saying in a statement, “John Mahoney passed away due to complications from cancer while in hospice care on Sunday.” \u003c/p>\n\u003cp>For 11 years, from 1993 to 2004, Mahoney played the blue-collar, retired-cop foil to Kelsey Grammer and David Hyde Pierce, his dandy and effete sons on the NBC hit show. \u003c/p>\n\u003cp>Over his career he earned two supporting-actor Emmy nominations and two Golden Globe Award nominations for his role as Martin Crane. On the stage, he won a Tony for his performance in a revival of \u003cem>The House of Blue Leaves \u003c/em>in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chicagotribune.com/entertainment/theater/news/ct-ent-john-mahoney-dead-steppenwolf-frasier-20180205-story.html\">According \u003c/a>to the \u003cem>Chicago Tribune,\u003c/em> Mahoney, who was born in Manchester, England, and moved to the U.S. at 19, became a professional actor somewhat late in life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until he was in his late 30s that he quit his job editing a medical magazine to study acting in Chicago. Shortly after that, he was invited to join Steppenwolf Theatre by founding members John Malkovich and Gary Sinise. At the time the young theater company was full of actors in their 20s and they needed somebody to play older roles. \u003c/p>\n\u003cp>“By the time I started my career, most people had given up and started selling insurance,” Mahoney told the \u003cem>Tribune\u003c/em> in 2004. “I didn’t have so much competition.” \u003c/p>\n\u003cp>Chicago Mayor Rahm Emanuel issued a statement Monday, mourning Mahoney’s death. \u003c/p>\n\u003cp>“John Mahoney was a fixture on the Chicago stage for over 30 years through countless award-winning performances,” Emanuel wrote. “Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago in theaters and as a member of the Steppenwolf Theatre Company. Though he will be missed, his work and impact will endure for generations to come.”\u003c/p>\n\u003cp>Mahoney’s film resume provides proof of the actor’s broad range and includes turns as the manager of the White Sox in \u003cem>Eight Men Out, \u003c/em>a lecherous professor in \u003cem>Moonstruck, \u003c/em>a protective father in \u003cem>Say Anything\u003c/em> and a dapper Southern author in \u003cem>Barton Fink. \u003c/em>\u003c/p>\n\u003cp>Most recently he appeared as Betty White’s love interest on \u003cem>Hot In Cleveland. \u003c/em>\u003c/p>\n\u003cp>Mahoney moved back to Chicago in 2004. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The city is almost like a person to me,” Mahoney said in an interview with the \u003cem>Tribune\u003c/em> at the time. “I can’t tell you why my heart is so full of Chicago, but it’s where I want to be. When I’m not here, I’m not as happy.” \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=%27Frasier%27+Star+John+Mahoney+Dies+at+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor John Mahoney, best-known for his portrayal of the grouchy and sharp-witted father of the title character in the TV show \u003cem>Frasier,\u003c/em> died Sunday. He was 77.\u003c/p>\n\u003cp>The Steppenwolf Theatre Company confirmed his death, saying in a statement, “John Mahoney passed away due to complications from cancer while in hospice care on Sunday.” \u003c/p>\n\u003cp>For 11 years, from 1993 to 2004, Mahoney played the blue-collar, retired-cop foil to Kelsey Grammer and David Hyde Pierce, his dandy and effete sons on the NBC hit show. \u003c/p>\n\u003cp>Over his career he earned two supporting-actor Emmy nominations and two Golden Globe Award nominations for his role as Martin Crane. On the stage, he won a Tony for his performance in a revival of \u003cem>The House of Blue Leaves \u003c/em>in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chicagotribune.com/entertainment/theater/news/ct-ent-john-mahoney-dead-steppenwolf-frasier-20180205-story.html\">According \u003c/a>to the \u003cem>Chicago Tribune,\u003c/em> Mahoney, who was born in Manchester, England, and moved to the U.S. at 19, became a professional actor somewhat late in life. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until he was in his late 30s that he quit his job editing a medical magazine to study acting in Chicago. Shortly after that, he was invited to join Steppenwolf Theatre by founding members John Malkovich and Gary Sinise. At the time the young theater company was full of actors in their 20s and they needed somebody to play older roles. \u003c/p>\n\u003cp>“By the time I started my career, most people had given up and started selling insurance,” Mahoney told the \u003cem>Tribune\u003c/em> in 2004. “I didn’t have so much competition.” \u003c/p>\n\u003cp>Chicago Mayor Rahm Emanuel issued a statement Monday, mourning Mahoney’s death. \u003c/p>\n\u003cp>“John Mahoney was a fixture on the Chicago stage for over 30 years through countless award-winning performances,” Emanuel wrote. “Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago in theaters and as a member of the Steppenwolf Theatre Company. Though he will be missed, his work and impact will endure for generations to come.”\u003c/p>\n\u003cp>Mahoney’s film resume provides proof of the actor’s broad range and includes turns as the manager of the White Sox in \u003cem>Eight Men Out, \u003c/em>a lecherous professor in \u003cem>Moonstruck, \u003c/em>a protective father in \u003cem>Say Anything\u003c/em> and a dapper Southern author in \u003cem>Barton Fink. \u003c/em>\u003c/p>\n\u003cp>Most recently he appeared as Betty White’s love interest on \u003cem>Hot In Cleveland. \u003c/em>\u003c/p>\n\u003cp>Mahoney moved back to Chicago in 2004. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The city is almost like a person to me,” Mahoney said in an interview with the \u003cem>Tribune\u003c/em> at the time. “I can’t tell you why my heart is so full of Chicago, but it’s where I want to be. When I’m not here, I’m not as happy.” \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=%27Frasier%27+Star+John+Mahoney+Dies+at+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Clipson, the San Francisco-based experimental filmmaker once described as a “poet of cinema,” died unexpectedly Saturday at the age of 53.\u003c/p>\n\u003cp>Clipson made dozens of short films and collaborated frequently with experimental musicians like Grouper, Maggi Payne and Black Spirituals. His psychedelic, non-narrative work brought him international acclaim, with his films appearing at several festivals, including the New York Film Festival, Edinburgh Film Festival, and the Rotterdam International Film Festival.\u003c/p>\n\u003cp>“Paul Clipson — a criminally unsung luminary of the moving image — has died. His images, layers upon layers of light and energy and feeling has been an inspiration,” filmmaker Scott Barely wrote \u003ca href=\"https://twitter.com/ScottBarleyFilm/status/960474340541255682\" rel=\"noopener\" target=\"_blank\">on Twitter\u003c/a>. \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/109943175\u003cbr>\n\u003c/aside>\n\u003cp>Born in 1965, Clipson grew up in Michigan as a film fanatic and began making movies as a teenager.\u003c/p>\n\u003cp>“I love film — just the history, everything. As soon as I could get a Super 8 camera, I was making films where I grew up in Michigan,” Clipson told writer \u003ca href=\"https://medium.com/@geetadayal/interview-with-paul-clipson-8ea786a20f29\" rel=\"noopener\" target=\"_blank\">Geeta Dayal in 2015\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”hPBxVtlxY9ajfWZ54q20IoVDOanjDizb”]\u003c/p>\n\u003cp>Clipson later moved to San Francisco and in the ’90s, he made a series of Super 8 films with guerrilla performance artist Adam Heavenrich called the \u003ca href=\"https://openspace.sfmoma.org/2010/06/paul-clipson-and-adam-heavenrichs-super-8-bucky-cycle/\" rel=\"noopener\" target=\"_blank\">\u003cem>BUCKY\u003c/em> cycle\u003c/a>. Each \u003cem>BUCKY\u003c/em> film — eight in total — ran about two minutes long and were edited in-camera, which would become a principal aspect of Clipson’s process.\u003c/p>\n\u003cp>The style that Clipson became known for didn’t develop until 2006, when he began working with musicians like Jefre Cantu-Ledesma, who at the time played in the local band Tarentel. Clipson later said he appreciated musicians’ freedom to create on a whim, so he jettisoned scripts and narratives to create his own form of improvised film. Using a mix of Super 8 and 16mm projectors, Clipson developed a way to layer and “play” the films live.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/39011646\u003cbr>\n\u003c/aside>\n\u003cp>“As a filmmaker I had been trained to plan and wait — and have a script, and raise money. I wanted to work more like a musician, or a painter or a writer, where you just write whenever, at 3 in the morning,” Clipson told Dayal. “But I just started to work more rapidly — it made me incredibly productive in a different way, and [I was] also showing work in the way that music is presented. Not always as a finalized thing.”\u003c/p>\n\u003cp>Clipson’s revelation led to a prolific period of creativity. He began collaborating with Tarentel, providing visuals for their live performances. He then went on to collaborate with other experimental musicians, for both live performances and his own shorts. In the past few years, Clipson received several commissions for work from organizations like the Exploratorium, and his films would be often compared to the work of Stan Brakhage. \u003c/p>\n\u003cp>https://twitter.com/thomaslogoreci/status/960661729373052928\u003c/p>\n\u003cp>But Clipson’s creativity wasn’t limited to film. A projectionist by trade, Clipson released a book titled \u003ca href=\"https://mubi.com/notebook/posts/paul-clipsons-reel--2\" rel=\"noopener\" target=\"_blank\">\u003ci>REEL\u003c/i>\u003c/a> with local publishers LAND AND SEA. It featured diagrams and instructions he drew for his fellow projectionists at SFMOMA, where Clipson worked for over a decade.\u003c/p>\n\u003cfigure id=\"attachment_13823754\" 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/Paul-Clipson-sitting-800x533.jpeg\" alt=\"Paul Clipson\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson. \u003ccite>(Courtesy of Maxwell August Croy )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though friends and family confirmed he died Saturday, details surrounding his passing were not released. What’s known is that he performed the night before at the \u003ca href=\"http://landandseaeditions.virb.com/\" rel=\"noopener\" target=\"_blank\">LAND AND SEA gallery\u003c/a> in Oakland with Byron Westbrook and Zachary James Watkins. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.gofundme.com/paul-clipson-family-memorial-fund\">GoFundMe page\u003c/a> is raising funding for his memorial and to help support his family.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Clipson, the San Francisco-based experimental filmmaker once described as a “poet of cinema,” died unexpectedly Saturday at the age of 53.\u003c/p>\n\u003cp>Clipson made dozens of short films and collaborated frequently with experimental musicians like Grouper, Maggi Payne and Black Spirituals. His psychedelic, non-narrative work brought him international acclaim, with his films appearing at several festivals, including the New York Film Festival, Edinburgh Film Festival, and the Rotterdam International Film Festival.\u003c/p>\n\u003cp>“Paul Clipson — a criminally unsung luminary of the moving image — has died. His images, layers upon layers of light and energy and feeling has been an inspiration,” filmmaker Scott Barely wrote \u003ca href=\"https://twitter.com/ScottBarleyFilm/status/960474340541255682\" rel=\"noopener\" target=\"_blank\">on Twitter\u003c/a>. \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/109943175\u003cbr>\n\u003c/aside>\n\u003cp>Born in 1965, Clipson grew up in Michigan as a film fanatic and began making movies as a teenager.\u003c/p>\n\u003cp>“I love film — just the history, everything. As soon as I could get a Super 8 camera, I was making films where I grew up in Michigan,” Clipson told writer \u003ca href=\"https://medium.com/@geetadayal/interview-with-paul-clipson-8ea786a20f29\" rel=\"noopener\" target=\"_blank\">Geeta Dayal in 2015\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Clipson later moved to San Francisco and in the ’90s, he made a series of Super 8 films with guerrilla performance artist Adam Heavenrich called the \u003ca href=\"https://openspace.sfmoma.org/2010/06/paul-clipson-and-adam-heavenrichs-super-8-bucky-cycle/\" rel=\"noopener\" target=\"_blank\">\u003cem>BUCKY\u003c/em> cycle\u003c/a>. Each \u003cem>BUCKY\u003c/em> film — eight in total — ran about two minutes long and were edited in-camera, which would become a principal aspect of Clipson’s process.\u003c/p>\n\u003cp>The style that Clipson became known for didn’t develop until 2006, when he began working with musicians like Jefre Cantu-Ledesma, who at the time played in the local band Tarentel. Clipson later said he appreciated musicians’ freedom to create on a whim, so he jettisoned scripts and narratives to create his own form of improvised film. Using a mix of Super 8 and 16mm projectors, Clipson developed a way to layer and “play” the films live.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/39011646\u003cbr>\n\u003c/aside>\n\u003cp>“As a filmmaker I had been trained to plan and wait — and have a script, and raise money. I wanted to work more like a musician, or a painter or a writer, where you just write whenever, at 3 in the morning,” Clipson told Dayal. “But I just started to work more rapidly — it made me incredibly productive in a different way, and [I was] also showing work in the way that music is presented. Not always as a finalized thing.”\u003c/p>\n\u003cp>Clipson’s revelation led to a prolific period of creativity. He began collaborating with Tarentel, providing visuals for their live performances. He then went on to collaborate with other experimental musicians, for both live performances and his own shorts. In the past few years, Clipson received several commissions for work from organizations like the Exploratorium, and his films would be often compared to the work of Stan Brakhage. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But Clipson’s creativity wasn’t limited to film. A projectionist by trade, Clipson released a book titled \u003ca href=\"https://mubi.com/notebook/posts/paul-clipsons-reel--2\" rel=\"noopener\" target=\"_blank\">\u003ci>REEL\u003c/i>\u003c/a> with local publishers LAND AND SEA. It featured diagrams and instructions he drew for his fellow projectionists at SFMOMA, where Clipson worked for over a decade.\u003c/p>\n\u003cfigure id=\"attachment_13823754\" 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/Paul-Clipson-sitting-800x533.jpeg\" alt=\"Paul Clipson\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson. \u003ccite>(Courtesy of Maxwell August Croy )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though friends and family confirmed he died Saturday, details surrounding his passing were not released. What’s known is that he performed the night before at the \u003ca href=\"http://landandseaeditions.virb.com/\" rel=\"noopener\" target=\"_blank\">LAND AND SEA gallery\u003c/a> in Oakland with Byron Westbrook and Zachary James Watkins. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.gofundme.com/paul-clipson-family-memorial-fund\">GoFundMe page\u003c/a> is raising funding for his memorial and to help support his family.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/2018/02/01/582513433/this-might-finally-be-the-year-for-philadelphia-eagles-fans\" target=\"_blank\" rel=\"noopener\">The Philadelphia Eagles\u003c/a> are playing in the Super Bowl for the first time in 13 years this weekend. Though the team has made two appearances at the big game in the past, the Eagles have never won a Super Bowl, making them the underdogs heading into Sunday’s match-up against the five-time championed \u003ca href=\"https://www.npr.org/tags/126950720/new-england-patriots\" target=\"_blank\" rel=\"noopener\">New England Patriots\u003c/a>. So for their introduction music into the U.S. Bank Stadium in Minneapolis, the Eagles have chosen to play a hip-hop underdog’s anthem, “Dreams and Nightmares (Intro)” by Philly rapper \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\" target=\"_blank\" rel=\"noopener\">Meek Mill\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S8gfqs1-NuE\u003c/p>\n\u003cp>The weight of this song selection is not lost on rap fans. Meek Mill, a high profile, platinum-selling rapper, has been in prison for the last three months for violating parole connected with a crime he committed over a decade ago. In the time he’s been behind bars, \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\" target=\"_blank\" rel=\"noopener\">Meek’s case\u003c/a> has garnered plenty of media attention. The artist’s support system of music industry names and Philadelphia figureheads are vocal and steadfast in the belief that Meek should not remain in jail over and the city of Philadelphia has rallied behind the 30-year-old rapper — \u003ca href=\"https://whyy.org/articles/hundreds-call-release-meek-mill-saying-punishment-excessive-cruel/\" target=\"_blank\" rel=\"noopener\">literally\u003c/a>. \u003c/p>\n\u003cp>Michel Martin speaks with NPR Music’s Rodney Carmichael about the significance on the Eagle’s song choice and how Meek’s ongoing case has become a flash point in the debate around criminal justice reform. \u003c/p>\n\u003cp>\u003cem>Web editor Sidney Madden to this story.\u003c/em> \u003cem>Listen to the entire interview at the audio link.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Philadelphia+Eagles+Show+Brotherly+Love+For+Meek+Mill+Ahead+of+Super+Bowl&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>\u003ca href=\"https://www.npr.org/2018/02/01/582513433/this-might-finally-be-the-year-for-philadelphia-eagles-fans\" target=\"_blank\" rel=\"noopener\">The Philadelphia Eagles\u003c/a> are playing in the Super Bowl for the first time in 13 years this weekend. Though the team has made two appearances at the big game in the past, the Eagles have never won a Super Bowl, making them the underdogs heading into Sunday’s match-up against the five-time championed \u003ca href=\"https://www.npr.org/tags/126950720/new-england-patriots\" target=\"_blank\" rel=\"noopener\">New England Patriots\u003c/a>. So for their introduction music into the U.S. Bank Stadium in Minneapolis, the Eagles have chosen to play a hip-hop underdog’s anthem, “Dreams and Nightmares (Intro)” by Philly rapper \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\" target=\"_blank\" rel=\"noopener\">Meek Mill\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/S8gfqs1-NuE'\n title='//www.youtube.com/embed/S8gfqs1-NuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The weight of this song selection is not lost on rap fans. Meek Mill, a high profile, platinum-selling rapper, has been in prison for the last three months for violating parole connected with a crime he committed over a decade ago. In the time he’s been behind bars, \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\" target=\"_blank\" rel=\"noopener\">Meek’s case\u003c/a> has garnered plenty of media attention. The artist’s support system of music industry names and Philadelphia figureheads are vocal and steadfast in the belief that Meek should not remain in jail over and the city of Philadelphia has rallied behind the 30-year-old rapper — \u003ca href=\"https://whyy.org/articles/hundreds-call-release-meek-mill-saying-punishment-excessive-cruel/\" target=\"_blank\" rel=\"noopener\">literally\u003c/a>. \u003c/p>\n\u003cp>Michel Martin speaks with NPR Music’s Rodney Carmichael about the significance on the Eagle’s song choice and how Meek’s ongoing case has become a flash point in the debate around criminal justice reform. \u003c/p>\n\u003cp>\u003cem>Web editor Sidney Madden to this story.\u003c/em> \u003cem>Listen to the entire interview at the audio link.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Philadelphia+Eagles+Show+Brotherly+Love+For+Meek+Mill+Ahead+of+Super+Bowl&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "West Oakland's Musical Legacy Still Something to Crow About",
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"content": "\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Britain’s film academy has expelled movie mogul Harvey Weinstein, after suspending him last year over sexual misconduct allegations.\u003c/p>\n\u003cp>The academy, known as BAFTA, said Friday that “following the suspension of Harvey Weinstein’s BAFTA membership in October 2017, BAFTA has formally terminated his membership, effective immediately.”\u003c/p>\n\u003cp>The academy said that although it had benefited from Weinstein’s support for its charitable work, his alleged behavior was “completely unacceptable and incompatible with BAFTA’s values.”\u003c/p>\n\u003cp>Police in the United States and Britain are investigating allegations of rape and sexual assault against Weinstein, once one of Hollywood’s most powerful players.\u003c/p>\n\u003cp>Scores of women, including well-known actresses, have accused Weinstein of sexual assault or harassment. He has been fired by the film company he founded with his brother Bob and expelled from Hollywood’s movie academy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The Kenneth Rainin Foundation announced Tuesday the awarding of $500,000 in grants to four local arts organizations for temporary public art projects in Oakland and San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a>, \u003ca href=\"https://flyawayproductions.com/\" rel=\"noopener\" target=\"_blank\">Flyaway Productions\u003c/a>, \u003ca href=\"http://www.galeriadelaraza.org/\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a> will each receive six-figure grants from the foundation. Selected from a field of 35 other applicants, the awardees are expected to complete their projects within the next 18 months.\u003c/p>\n\u003cp>The grants come from the foundation’s Open Spaces program, an initiative to provide more public art in the Bay Area. The program began two years ago as a way to engage local communities with art that speaks to bigger issues, such as immigration and displacement. \u003c/p>\n\u003cp>“It’s not like we’re sticking a statue in a neighborhood,” said Amanda Flores-Witte, the communications director for Kenneth Rainin Foundation. “We’re looking for ways to bring people together that wasn’t possible before.”\u003c/p>\n\u003cp>These projects “awaken people to what civil engagement is all about,” said Flores-Witte.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced Tuesday the awarding of $500,000 in grants to four local arts organizations for temporary public art projects in Oakland and San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a>, \u003ca href=\"https://flyawayproductions.com/\" rel=\"noopener\" target=\"_blank\">Flyaway Productions\u003c/a>, \u003ca href=\"http://www.galeriadelaraza.org/\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a> will each receive six-figure grants from the foundation. Selected from a field of 35 other applicants, the awardees are expected to complete their projects within the next 18 months.\u003c/p>\n\u003cp>The grants come from the foundation’s Open Spaces program, an initiative to provide more public art in the Bay Area. The program began two years ago as a way to engage local communities with art that speaks to bigger issues, such as immigration and displacement. \u003c/p>\n\u003cp>“It’s not like we’re sticking a statue in a neighborhood,” said Amanda Flores-Witte, the communications director for Kenneth Rainin Foundation. “We’re looking for ways to bring people together that wasn’t possible before.”\u003c/p>\n\u003cp>These projects “awaken people to what civil engagement is all about,” said Flores-Witte.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I will freely admit to accidentally driving past di Rosa’s unassuming Carneros Highway driveway on more than one occasion — at 50mph and on a long stretch of rural sameness, it was easy to miss. But that was before the Napa-area art destination rebranded as \u003ca href=\"http://www.dirosaart.org/\" rel=\"noopener\" target=\"_blank\">di Rosa Center for Contemporary Art\u003c/a>, got a new sign and painted their gate a bright, eye-catching blue.\u003c/p>\n\u003cp>The entrance isn’t the only thing that’s new. \u003ci>Be Not Still: Living in Uncertain Times\u003c/i> is the first exhibition in the newest chapter of di Rosa’s long and colorful existence — one no longer soley focused on its namesake’s extensive collection, but on artist-driven collaborations and social engagement. Gone are the metal sheep on the hillside, gone are the funk art assemblages, the massive William T. Wiley canvases, and, really, most of the collection formerly on view in the giant space of Gallery 2. (Before you panic, all that art’s not \u003ci>gone\u003c/i> gone, it’s just in storage.) \u003c/p>\n\u003cfigure id=\"attachment_13823522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg\" alt=\"Installation view of 'There's a Dark Secret in Me: Precarity, Exposure, Camouflage.'\" width=\"1200\" height=\"844\" class=\"size-full wp-image-13823522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-520x366.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘There’s a Dark Secret in Me: Precarity, Exposure, Camouflage.’ \u003ccite>(di Rosa Center for Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All this cleaning house makes way for a guest-curated exhibition on surveillance and three new artist commissions from Ala Ebtekar, Allison Smith and Rigo 23, addressing ideas of citizenship, the rise of white nationalism and the fallacy of American exceptionalism, respectively.\u003c/p>\n\u003cp>If those seem like big ideas, that’s the point. \u003c/p>\n\u003cp>But is it all too much “new” all at once? Regular and longtime visitors to the di Rosa may feel this way. (I overheard a surprised “Where’s \u003ca href=\"https://media-cdn.tripadvisor.com/media/photo-s/0c/df/51/7f/art-car.jpg\" rel=\"noopener\" target=\"_blank\">the car\u003c/a>?” at the exhibition’s press preview, likely not the first nor the last such inquiry.) But times being what they are — confusing, dystopic, fractured, rife with conflict — it’s crucial for smaller, more nimble arts spaces to address the morass of current politics and culture in their programming. \u003c/p>\n\u003cfigure id=\"attachment_13823521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg\" alt=\"Lynn Hershman Leeson, 'Constructing Roberta Breitmore,' 1975.\" width=\"640\" height=\"828\" class=\"size-full wp-image-13823521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-520x673.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Constructing Roberta Breitmore,’ 1975. \u003ccite>(di Rosa Collection, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Be Not Still\u003c/i> gently guides visitors from the familiar to the new. In Gallery 1, authors Dodie Bellamy and Kevin Killian sifted through works collected by Rene di Rosa himself (between 1950 and 2010), assembling a group show titled \u003ci>There’s a Dark Secret in Me\u003c/i>, named after a lyric in Kylie Minogue’s 2001 song “Can’t Get You Out of My Head.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Across a variety of media, their selections touch on observation, vulnerable bodies and attempts at camouflage. In Bill Owens’ photograph \u003ci>Untitled\u003c/i>, he captures a Christmas living room scene; Reagan’s face beams out of the television set, a government intruding into private space. In Carlos Villa’s \u003ci>Blue Piece\u003c/i>, figures emerge from a field of blue paper pulp, crawling out of anonymity and into individual focus. Catherine Wagner’s \u003ci>7th and 8th Grade Science Classroom, Moss Landing Elementary School\u003c/i> captures a lesson on the anatomy of an eyeball, stuffed and segmented specimens of birds on display above the blackboard.\u003c/p>\n\u003cp>“We went searching for artworks that spoke to us of unease and dispossession, tragedy and loss,” Bellamy and Killian write in their exhibition essay. The result is unsettling, possibly anxiety-inducing, but ultimately a testament to the depths of di Rosa’s collection — that the “uncertain times” of 2018 can be channeled through a group of works sometimes over half a century old.\u003c/p>\n\u003cp>Gallery 2 leaves the collection behind, but maintains the feeling of unease, rendering it contemporary. \u003c/p>\n\u003cfigure id=\"attachment_13823520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg\" alt=\"Allison Smith, 'Untitled (many sides, many sides)' and 'Untitled (blunt instruments)' in progress, 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, ‘Untitled (many sides, many sides)’ and ‘Untitled (blunt instruments)’ in progress, 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the original promotional materials for \u003ci>Be Not Still\u003c/i>, issued long before the North Bay fires delayed the exhibition’s opening by almost four months, Allison Smith’s chosen focus was listed as “North American fundamentalism,” in keeping with her practice of engaging with history through performative objects and traditional crafts. But after the violent August 2017 “Unite the Right” rally in Charlottesville and the death of counter-protester Heather Heyer, Smith turned her focus to the symbolic objects of the present.\u003c/p>\n\u003cp>In her piece \u003ci>Untitled (blunt instruments)\u003c/i>, cast bronze tiki torches lay horizontally around the base of a large-scale white pedestal. The pedestal sits statue-less, a black tarp draped over its top, just as the Robert E. Lee statue in Charlottesville is currently concealed. It’s a difficult piece to look at, and a difficult moment in recent history to attempt to contextualize, either as a viewer or an artist. “Smith aspires to historicize the present moment,” the exhibition guide says, “as a strategy to move beyond it.”\u003c/p>\n\u003cfigure id=\"attachment_13823519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg\" alt=\"Allison Smith, Detail of 'Untitled (blunt instruments),' 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, Detail of ‘Untitled (blunt instruments),’ 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rigo 23’s \u003ci>Madre Tierra (Mother Earth)\u003c/i> heightens the tension by encouraging viewers to pass through narrow passageways created by his towering white walls — vertical extrusions from a gigantic version of the American flag spread across the floor. Along one of the white walls, handwritten facts and figures chart the United States’ endless involvement in international conflict. These are the facts Rigo finds “exceptional”: the ability for a country to preach peace, equality and democracy while practicing none of the above. \u003c/p>\n\u003cp>Ala Ebtekar’s contribution to the exhibition expands the concept of “citizenship” beyond national boundaries, asking viewers to consider their roles as global citizens. In \u003ci>Luminous Ground\u003c/i>, he transfers the first ultra-deep wide field image of the universe, taken by the Hubble Space Telescope, onto square tiles made from California soil. Rendered in a cyanotype process, the field of stars shifts between macro and micro scales, sometimes resembling a Pollock-esque action painting instead of the distant night sky. It’s a hopeful, more optimistic note to end on, as long as you don’t dwell too much on the distance between an embrace of global citizenship and the current state of the world.\u003c/p>\n\u003cfigure id=\"attachment_13823518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg\" alt=\"'Luminous Ground' in progress by Ala Ebtekar.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13823518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Luminous Ground’ in progress by Ala Ebtekar. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that the projects in \u003ci>Be Not Still\u003c/i> come from the artists themselves is a rare kind of institutional generosity. The structure of the year-long exhibition series (Part 2 opens with four new artists in June) places trust in visual art and artists — to address difficult issues and to spark generative conversations. These are the kinds of encounters that might bring us to a greater understanding of our own convictions, even in the midst of uncertain times.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Be Not Still: Living in Uncertain Times, Part 1’ is on view at the di Rosa Center for Contemporary Art through May 27, 2018. For more information, \u003ca href=\"http://www.dirosaart.org/be-not-still/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "With an updated mission and year-long program dedicated to tackling big ideas, di Rosa becomes a new center for artist-directed projects.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I will freely admit to accidentally driving past di Rosa’s unassuming Carneros Highway driveway on more than one occasion — at 50mph and on a long stretch of rural sameness, it was easy to miss. But that was before the Napa-area art destination rebranded as \u003ca href=\"http://www.dirosaart.org/\" rel=\"noopener\" target=\"_blank\">di Rosa Center for Contemporary Art\u003c/a>, got a new sign and painted their gate a bright, eye-catching blue.\u003c/p>\n\u003cp>The entrance isn’t the only thing that’s new. \u003ci>Be Not Still: Living in Uncertain Times\u003c/i> is the first exhibition in the newest chapter of di Rosa’s long and colorful existence — one no longer soley focused on its namesake’s extensive collection, but on artist-driven collaborations and social engagement. Gone are the metal sheep on the hillside, gone are the funk art assemblages, the massive William T. Wiley canvases, and, really, most of the collection formerly on view in the giant space of Gallery 2. (Before you panic, all that art’s not \u003ci>gone\u003c/i> gone, it’s just in storage.) \u003c/p>\n\u003cfigure id=\"attachment_13823522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg\" alt=\"Installation view of 'There's a Dark Secret in Me: Precarity, Exposure, Camouflage.'\" width=\"1200\" height=\"844\" class=\"size-full wp-image-13823522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Gallery1_install2_1200-520x366.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘There’s a Dark Secret in Me: Precarity, Exposure, Camouflage.’ \u003ccite>(di Rosa Center for Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All this cleaning house makes way for a guest-curated exhibition on surveillance and three new artist commissions from Ala Ebtekar, Allison Smith and Rigo 23, addressing ideas of citizenship, the rise of white nationalism and the fallacy of American exceptionalism, respectively.\u003c/p>\n\u003cp>If those seem like big ideas, that’s the point. \u003c/p>\n\u003cp>But is it all too much “new” all at once? Regular and longtime visitors to the di Rosa may feel this way. (I overheard a surprised “Where’s \u003ca href=\"https://media-cdn.tripadvisor.com/media/photo-s/0c/df/51/7f/art-car.jpg\" rel=\"noopener\" target=\"_blank\">the car\u003c/a>?” at the exhibition’s press preview, likely not the first nor the last such inquiry.) But times being what they are — confusing, dystopic, fractured, rife with conflict — it’s crucial for smaller, more nimble arts spaces to address the morass of current politics and culture in their programming. \u003c/p>\n\u003cfigure id=\"attachment_13823521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg\" alt=\"Lynn Hershman Leeson, 'Constructing Roberta Breitmore,' 1975.\" width=\"640\" height=\"828\" class=\"size-full wp-image-13823521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/BellamyKillian-2_640-520x673.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, ‘Constructing Roberta Breitmore,’ 1975. \u003ccite>(di Rosa Collection, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Be Not Still\u003c/i> gently guides visitors from the familiar to the new. In Gallery 1, authors Dodie Bellamy and Kevin Killian sifted through works collected by Rene di Rosa himself (between 1950 and 2010), assembling a group show titled \u003ci>There’s a Dark Secret in Me\u003c/i>, named after a lyric in Kylie Minogue’s 2001 song “Can’t Get You Out of My Head.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Across a variety of media, their selections touch on observation, vulnerable bodies and attempts at camouflage. In Bill Owens’ photograph \u003ci>Untitled\u003c/i>, he captures a Christmas living room scene; Reagan’s face beams out of the television set, a government intruding into private space. In Carlos Villa’s \u003ci>Blue Piece\u003c/i>, figures emerge from a field of blue paper pulp, crawling out of anonymity and into individual focus. Catherine Wagner’s \u003ci>7th and 8th Grade Science Classroom, Moss Landing Elementary School\u003c/i> captures a lesson on the anatomy of an eyeball, stuffed and segmented specimens of birds on display above the blackboard.\u003c/p>\n\u003cp>“We went searching for artworks that spoke to us of unease and dispossession, tragedy and loss,” Bellamy and Killian write in their exhibition essay. The result is unsettling, possibly anxiety-inducing, but ultimately a testament to the depths of di Rosa’s collection — that the “uncertain times” of 2018 can be channeled through a group of works sometimes over half a century old.\u003c/p>\n\u003cp>Gallery 2 leaves the collection behind, but maintains the feeling of unease, rendering it contemporary. \u003c/p>\n\u003cfigure id=\"attachment_13823520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg\" alt=\"Allison Smith, 'Untitled (many sides, many sides)' and 'Untitled (blunt instruments)' in progress, 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress3_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, ‘Untitled (many sides, many sides)’ and ‘Untitled (blunt instruments)’ in progress, 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the original promotional materials for \u003ci>Be Not Still\u003c/i>, issued long before the North Bay fires delayed the exhibition’s opening by almost four months, Allison Smith’s chosen focus was listed as “North American fundamentalism,” in keeping with her practice of engaging with history through performative objects and traditional crafts. But after the violent August 2017 “Unite the Right” rally in Charlottesville and the death of counter-protester Heather Heyer, Smith turned her focus to the symbolic objects of the present.\u003c/p>\n\u003cp>In her piece \u003ci>Untitled (blunt instruments)\u003c/i>, cast bronze tiki torches lay horizontally around the base of a large-scale white pedestal. The pedestal sits statue-less, a black tarp draped over its top, just as the Robert E. Lee statue in Charlottesville is currently concealed. It’s a difficult piece to look at, and a difficult moment in recent history to attempt to contextualize, either as a viewer or an artist. “Smith aspires to historicize the present moment,” the exhibition guide says, “as a strategy to move beyond it.”\u003c/p>\n\u003cfigure id=\"attachment_13823519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg\" alt=\"Allison Smith, Detail of 'Untitled (blunt instruments),' 2018.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13823519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllisonSmith_in-progress2_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Smith, Detail of ‘Untitled (blunt instruments),’ 2018. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rigo 23’s \u003ci>Madre Tierra (Mother Earth)\u003c/i> heightens the tension by encouraging viewers to pass through narrow passageways created by his towering white walls — vertical extrusions from a gigantic version of the American flag spread across the floor. Along one of the white walls, handwritten facts and figures chart the United States’ endless involvement in international conflict. These are the facts Rigo finds “exceptional”: the ability for a country to preach peace, equality and democracy while practicing none of the above. \u003c/p>\n\u003cp>Ala Ebtekar’s contribution to the exhibition expands the concept of “citizenship” beyond national boundaries, asking viewers to consider their roles as global citizens. In \u003ci>Luminous Ground\u003c/i>, he transfers the first ultra-deep wide field image of the universe, taken by the Hubble Space Telescope, onto square tiles made from California soil. Rendered in a cyanotype process, the field of stars shifts between macro and micro scales, sometimes resembling a Pollock-esque action painting instead of the distant night sky. It’s a hopeful, more optimistic note to end on, as long as you don’t dwell too much on the distance between an embrace of global citizenship and the current state of the world.\u003c/p>\n\u003cfigure id=\"attachment_13823518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg\" alt=\"'Luminous Ground' in progress by Ala Ebtekar.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13823518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlaEbtekar_in-progress_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Luminous Ground’ in progress by Ala Ebtekar. \u003ccite>(Courtesy of the artist and di Rosa Center for Contemporary Art, Napa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that the projects in \u003ci>Be Not Still\u003c/i> come from the artists themselves is a rare kind of institutional generosity. The structure of the year-long exhibition series (Part 2 opens with four new artists in June) places trust in visual art and artists — to address difficult issues and to spark generative conversations. These are the kinds of encounters that might bring us to a greater understanding of our own convictions, even in the midst of uncertain times.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Be Not Still: Living in Uncertain Times, Part 1’ is on view at the di Rosa Center for Contemporary Art through May 27, 2018. For more information, \u003ca href=\"http://www.dirosaart.org/be-not-still/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Truck Driver Plows Over Peru's Nazca Lines, Leaving 'Deep Scars'",
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"content": "\u003cp>A semitrailer driver ignored warning signs and drove over Peru’s famous Nazca Lines on Saturday, causing significant damage to the UNESCO World Heritage site.\u003c/p>\n\u003cp>The driver, identified as 40-year-old \u003ca href=\"https://twitter.com/FiscaliaPeru/status/958496177774739456?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fperu21.pe%2Fperu%2Flineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">Jainer Jesús Flores Vigo\u003c/a>, was detained and released, \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to newspaper \u003cem>Peru21.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/MinCulturaPe/status/958120324029173760\u003c/p>\n\u003cp>The lines were scratched into the ground approximately 2,000 years ago and depict animals, plants, imaginary creatures and geometric figures miles long. Nazca’s lines and geoglyphs stretch across an area of about 280 square miles.\u003c/p>\n\u003cp>A magistrate concluded that there wasn’t sufficient evidence to indicate the driver acted with intent, \u003cem>Peru21 \u003c/em>reports. Peru’s public minister \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\">announced\u003c/a> that Nazca’s prosecutor’s office was appealing the judge’s decision. The ministry had sought nine months of preventive detention and a $1,550 fine while the investigation continues, according to the newspaper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \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=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The driver reportedly said he didn't know the area because he had never traveled there before and that he left the road owing to a mechanical problem. But some think he was trying to avoid a toll.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A semitrailer driver ignored warning signs and drove over Peru’s famous Nazca Lines on Saturday, causing significant damage to the UNESCO World Heritage site.\u003c/p>\n\u003cp>The driver, identified as 40-year-old \u003ca href=\"https://twitter.com/FiscaliaPeru/status/958496177774739456?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fperu21.pe%2Fperu%2Flineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">Jainer Jesús Flores Vigo\u003c/a>, was detained and released, \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to newspaper \u003cem>Peru21.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The lines were scratched into the ground approximately 2,000 years ago and depict animals, plants, imaginary creatures and geometric figures miles long. Nazca’s lines and geoglyphs stretch across an area of about 280 square miles.\u003c/p>\n\u003cp>A magistrate concluded that there wasn’t sufficient evidence to indicate the driver acted with intent, \u003cem>Peru21 \u003c/em>reports. Peru’s public minister \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\">announced\u003c/a> that Nazca’s prosecutor’s office was appealing the judge’s decision. The ministry had sought nine months of preventive detention and a $1,550 fine while the investigation continues, according to the newspaper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \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=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Waiting for the \u003ca href=\"https://www.alcatrazcruises.com/\" target=\"_blank\" rel=\"noopener\">ferry to Alcatraz\u003c/a> isn’t nearly as much fun as being on the iconic island itself. The lines are often long and there’s little to do while you wait in them.\u003c/p>\n\u003cp>Now, the \u003ca href=\"https://www.nps.gov/index.htm\" target=\"_blank\" rel=\"noopener\">National Park Service\u003c/a>, \u003ca href=\"http://sfport.com/\" target=\"_blank\" rel=\"noopener\">Port of San Francisco\u003c/a> and \u003ca href=\"http://www.parksconservancy.org/\" target=\"_blank\" rel=\"noopener\">Parks Conservancy\u003c/a> are working on a plan they hope will make the wait worthwhile.\u003c/p>\n\u003cp>“We’re reorganizing the site to better serve the many people who visit Alcatraz each year,” says Dena Kennett, a landscape architect for the National Park Service and project team member, in a recent phone interview.\u003c/p>\n\u003cp>“The proposal is for greatly improved operations,” says Brian Aviles, the park’s chief of planning. “Right now, the site is kind of chaotic.”\u003c/p>\n\u003cfigure id=\"attachment_13823257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823257 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg\" alt=\"Plans for the proposed entrance to Pier 31 1/2.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plans for the proposed entrance to Pier 31 1/2. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designed by the San Francisco firms \u003ca href=\"http://www.ehdd.com/\" target=\"_blank\" rel=\"noopener\">EHDD Architecture\u003c/a> and \u003ca href=\"https://www.cmgsite.com/\" target=\"_blank\" rel=\"noopener\">CMG Landscape Architecture\u003c/a>, the redeveloped area comprising Pier 31 1/2 as well as parts of Piers 31 and 33, will include:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Indoor parking:\u003c/strong> Aviles says about a third of the site is currently a parking lot. “The area is gobbled by cars,” Aviles says. The plans will move the vehicles indoors, into the shed structure at Pier 31 1/2.\u003c/li>\n\u003cli>\u003cstrong>Welcome center:\u003c/strong> The large, currently disused historic building at Pier 33 will be transformed into a visitors’ welcome center. “Right now, the building is miserable,” Aviles says. “We’re going to restore it, and open it up to provide orientation, exhibits, a bookstore, and offices for the people running the ferry service, including ticket sales.”\u003c/li>\n\u003cli>\u003cstrong>Cafe: \u003c/strong>A new eatery will be installed in the presently unoccupied shed at Pier 31 1/2. “The cafe will be where people disembark,” says Kennett. “There will also be outdoor space with a canopy for lingering and meeting groups.”\u003c/li>\n\u003cli>\u003cstrong>Public plazas: \u003c/strong>Kennett says the civic spaces around the ferry landing and associated buildings will be designed as an extension of the Embarcadero, with a paved surface and fixed seating. “It needs to be comfortable for up to a thousand people,” Kennett says. “It needs to be a flexible and welcoming space.”\u003c/li>\n\u003cli>\u003cstrong>Interpretive elements:\u003c/strong> Visitors will still have to line up outside to catch the Alcatraz ferry. But the developers plan to install canopies and what Kennett describes as “interpretive elements embedded into site fixtures” to educate visitors about the history and cultural significance of The Rock before they board. “We want the site to show the whole story of Alcatraz, including the Native American occupation, protecting the natural resources of the island, and the history of protests that took place there,” Kennett says.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13823258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823258 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg\" alt=\"Site Plan\" width=\"800\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-768x674.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1020x896.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1920x1686.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1180x1036.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-960x843.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-240x211.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-375x329.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-520x457.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Site Plan, \u003ccite>(Photo: Courtesy of CMG Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aviles, together with four project partners — Robert Tranter of EHDD Architecture, Cathie Barner of the Parks Conservancy, the Port of San Francisco’s Dan Hodapp and CMG Landscape Architecture’s Scott Cataffa — shared their vision for the site at a Jan. 30 public meeting at the \u003ca href=\"http://www.spur.org/events/2018-01-30/getting-rock\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Planning and Urban Research Association\u003c/a> (SPUR).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our big thought was to organize the site a little bit better,” Cataffa says. “We want to clear the center space out, open up the views of the water and organize the program amenities to make the experience much clearer.”\u003c/p>\n\u003cp>Aviles says the total budget for the project will come in at more than $20 million, and that the money to pay for the redevelopment of the site will come from the ferry operator — not the taxpayer.\u003c/p>\n\u003cp>The National Park Service announced Thursday that it is seeking proposals from ferry service providers for the concession, including the current contractor, \u003ca href=\"https://www.hornblower.com/\" target=\"_blank\" rel=\"noopener\">Hornblower Cruises & Events. \u003c/a>Aviles adds he does not expect tickets to Alcatraz to go up in price as a result of the improvements.\u003c/p>\n\u003cp>Audience members from the Jan 30. event offer varying responses to the plan.\u003c/p>\n\u003cfigure id=\"attachment_13823264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823264 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg\" alt=\"Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you look at what’s there now it’s kind of a hodgepodge of stuff, so it’ll be nice to open up waterfront so that the public can get down there and actually see the water,” says structural engineer Alan Kren.\u003c/p>\n\u003cp>But Kren also expresses reservations about the budget. “These types of projects always tend to cost more than people really want to think that they’re going to cost,” Kren says. “They’re difficult renovations over structures that are over the water that people tend to have ignored for a long time because they only see what’s up on top. Doing what’s on top is pretty straightforward, but what’s underneath can be a little bit difficult and that’s where the money gets spent. But nobody wants to spend it there.”\u003c/p>\n\u003cp>Meanwhile, Academy of Art architecture and design student Leslie Onumbu expressed excitement about the vision for the Alcatraz landing and welcome center, but says he felt the panelists were too vague about sustainability issues.\u003c/p>\n\u003cp>“They talked about LEED [Leadership in Energy and Environmental Design — an internationally recognized green building certification system] and they talked about materials,” Onumbu says. “But I can’t really pinpoint and say OK, this is extremely sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_13823259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823259 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg\" alt=\"View of the proposed site from above.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View of the proposed site from above. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early work on the plan did include an extensive environmental impact study. Aviles says improved emissions controls on ferries is an important part of the redevelopment project and that the new and refurbished structures will include sustainable materials.\u003c/p>\n\u003cp>Kennett says historical preservation is also a key consideration. This includes preserving the facades of the old buildings. “We don’t want to compete with the historical elements but complement them,” Kennett says.\u003c/p>\n\u003cp>Aviles says the proposal will go before San Francisco’s board of supervisors in March or April. If approved, the transformation will take around five years, with no expected service interruptions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The National Park Service, Port of San Francisco and Parks Conservancy are working on a plan they hope will make the wait for the ferry to The Rock worthwhile.",
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"title": "A Glimpse into the Future of Getting to Alcatraz | KQED",
"description": "The National Park Service, Port of San Francisco and Parks Conservancy are working on a plan they hope will make the wait for the ferry to The Rock worthwhile.",
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"headline": "A Glimpse into the Future of Getting to Alcatraz",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Waiting for the \u003ca href=\"https://www.alcatrazcruises.com/\" target=\"_blank\" rel=\"noopener\">ferry to Alcatraz\u003c/a> isn’t nearly as much fun as being on the iconic island itself. The lines are often long and there’s little to do while you wait in them.\u003c/p>\n\u003cp>Now, the \u003ca href=\"https://www.nps.gov/index.htm\" target=\"_blank\" rel=\"noopener\">National Park Service\u003c/a>, \u003ca href=\"http://sfport.com/\" target=\"_blank\" rel=\"noopener\">Port of San Francisco\u003c/a> and \u003ca href=\"http://www.parksconservancy.org/\" target=\"_blank\" rel=\"noopener\">Parks Conservancy\u003c/a> are working on a plan they hope will make the wait worthwhile.\u003c/p>\n\u003cp>“We’re reorganizing the site to better serve the many people who visit Alcatraz each year,” says Dena Kennett, a landscape architect for the National Park Service and project team member, in a recent phone interview.\u003c/p>\n\u003cp>“The proposal is for greatly improved operations,” says Brian Aviles, the park’s chief of planning. “Right now, the site is kind of chaotic.”\u003c/p>\n\u003cfigure id=\"attachment_13823257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823257 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg\" alt=\"Plans for the proposed entrance to Pier 31 1/2.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plans for the proposed entrance to Pier 31 1/2. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designed by the San Francisco firms \u003ca href=\"http://www.ehdd.com/\" target=\"_blank\" rel=\"noopener\">EHDD Architecture\u003c/a> and \u003ca href=\"https://www.cmgsite.com/\" target=\"_blank\" rel=\"noopener\">CMG Landscape Architecture\u003c/a>, the redeveloped area comprising Pier 31 1/2 as well as parts of Piers 31 and 33, will include:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Indoor parking:\u003c/strong> Aviles says about a third of the site is currently a parking lot. “The area is gobbled by cars,” Aviles says. The plans will move the vehicles indoors, into the shed structure at Pier 31 1/2.\u003c/li>\n\u003cli>\u003cstrong>Welcome center:\u003c/strong> The large, currently disused historic building at Pier 33 will be transformed into a visitors’ welcome center. “Right now, the building is miserable,” Aviles says. “We’re going to restore it, and open it up to provide orientation, exhibits, a bookstore, and offices for the people running the ferry service, including ticket sales.”\u003c/li>\n\u003cli>\u003cstrong>Cafe: \u003c/strong>A new eatery will be installed in the presently unoccupied shed at Pier 31 1/2. “The cafe will be where people disembark,” says Kennett. “There will also be outdoor space with a canopy for lingering and meeting groups.”\u003c/li>\n\u003cli>\u003cstrong>Public plazas: \u003c/strong>Kennett says the civic spaces around the ferry landing and associated buildings will be designed as an extension of the Embarcadero, with a paved surface and fixed seating. “It needs to be comfortable for up to a thousand people,” Kennett says. “It needs to be a flexible and welcoming space.”\u003c/li>\n\u003cli>\u003cstrong>Interpretive elements:\u003c/strong> Visitors will still have to line up outside to catch the Alcatraz ferry. But the developers plan to install canopies and what Kennett describes as “interpretive elements embedded into site fixtures” to educate visitors about the history and cultural significance of The Rock before they board. “We want the site to show the whole story of Alcatraz, including the Native American occupation, protecting the natural resources of the island, and the history of protests that took place there,” Kennett says.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13823258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823258 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg\" alt=\"Site Plan\" width=\"800\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-768x674.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1020x896.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1920x1686.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1180x1036.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-960x843.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-240x211.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-375x329.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-520x457.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Site Plan, \u003ccite>(Photo: Courtesy of CMG Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aviles, together with four project partners — Robert Tranter of EHDD Architecture, Cathie Barner of the Parks Conservancy, the Port of San Francisco’s Dan Hodapp and CMG Landscape Architecture’s Scott Cataffa — shared their vision for the site at a Jan. 30 public meeting at the \u003ca href=\"http://www.spur.org/events/2018-01-30/getting-rock\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Planning and Urban Research Association\u003c/a> (SPUR).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our big thought was to organize the site a little bit better,” Cataffa says. “We want to clear the center space out, open up the views of the water and organize the program amenities to make the experience much clearer.”\u003c/p>\n\u003cp>Aviles says the total budget for the project will come in at more than $20 million, and that the money to pay for the redevelopment of the site will come from the ferry operator — not the taxpayer.\u003c/p>\n\u003cp>The National Park Service announced Thursday that it is seeking proposals from ferry service providers for the concession, including the current contractor, \u003ca href=\"https://www.hornblower.com/\" target=\"_blank\" rel=\"noopener\">Hornblower Cruises & Events. \u003c/a>Aviles adds he does not expect tickets to Alcatraz to go up in price as a result of the improvements.\u003c/p>\n\u003cp>Audience members from the Jan 30. event offer varying responses to the plan.\u003c/p>\n\u003cfigure id=\"attachment_13823264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823264 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg\" alt=\"Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you look at what’s there now it’s kind of a hodgepodge of stuff, so it’ll be nice to open up waterfront so that the public can get down there and actually see the water,” says structural engineer Alan Kren.\u003c/p>\n\u003cp>But Kren also expresses reservations about the budget. “These types of projects always tend to cost more than people really want to think that they’re going to cost,” Kren says. “They’re difficult renovations over structures that are over the water that people tend to have ignored for a long time because they only see what’s up on top. Doing what’s on top is pretty straightforward, but what’s underneath can be a little bit difficult and that’s where the money gets spent. But nobody wants to spend it there.”\u003c/p>\n\u003cp>Meanwhile, Academy of Art architecture and design student Leslie Onumbu expressed excitement about the vision for the Alcatraz landing and welcome center, but says he felt the panelists were too vague about sustainability issues.\u003c/p>\n\u003cp>“They talked about LEED [Leadership in Energy and Environmental Design — an internationally recognized green building certification system] and they talked about materials,” Onumbu says. “But I can’t really pinpoint and say OK, this is extremely sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_13823259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823259 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg\" alt=\"View of the proposed site from above.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View of the proposed site from above. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early work on the plan did include an extensive environmental impact study. Aviles says improved emissions controls on ferries is an important part of the redevelopment project and that the new and refurbished structures will include sustainable materials.\u003c/p>\n\u003cp>Kennett says historical preservation is also a key consideration. This includes preserving the facades of the old buildings. “We don’t want to compete with the historical elements but complement them,” Kennett says.\u003c/p>\n\u003cp>Aviles says the proposal will go before San Francisco’s board of supervisors in March or April. If approved, the transformation will take around five years, with no expected service interruptions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Black Keys guitarist Dan Auerbach likes to put a fine pop shine on pretty much everything he records. He’s got a new album out of original songs, full of seductive pop hooks, and written by songwriter royalty like John Prine. But he’s also producing other artists, including the terrifically funky veteran bluesman Robert Finley, who had been supporting himself as a carpenter in his hometown of Bernice, Louisiana. \u003c/p>\n\u003cp>Auerbach put together a touring show of his most recent works that he calls the Easy Eye Sound Review. It features Finley and top musicians, all with a keen taste for oldies and R&B. They’re loose, and I think they’re better live than on record. Also on the bill is Oakland’s Shannon and the Clams, who mix garage rock, surf, and doo-wop with a hint of the weird. \u003c/p>\n\u003cp>Details for Auerbach’s show at The Fillmore Feb. 14 and 15 are \u003ca href=\"http://thefillmore.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XhTMgEXPKp0}\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=61FcT0T4H6Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Opera Parallèle and SFJAZZ are teaming up to present a concert celebrating Leonard Bernstein’s 100th birthday — one of dozens of Bernstein birthday concerts we’ve enjoyed in the Bay Area since last fall. The two companies are presenting the one act opera \u003cem>Trouble in Tahiti from 1952,\u003c/em> for which Bernstein wrote both the score and libretto. Centered on the allure and despair of suburban life, \u003ci>Trouble\u003c/i> also features orchestrations and motifs that would come to life years later in \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823290\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg\" alt=\"Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-768x918.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696.jpg 801w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ \u003ccite>(Photo: Steve Di Bartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein began composing it on his honeymoon, yet the musical opens with a married couple bickering. It’s likely based on the the marriage of Bernstein’s parents, but it also foreshadowed the trouble to come \u003ca href=\"http://www.interlude.hk/front/leonard-bernstein-felicia-montealegrea-divided-life/\" rel=\"noopener\" target=\"_blank\">in his marriage\u003c/a> to Chilean actress Felicia Montealegre. \u003c/p>\n\u003cp>The companies are pairing \u003cem>Trouble \u003c/em>with \u003cem>At the Statue of Venus\u003c/em>, by San Francisco composer Jake Heggie and his \u003cem>Dead Man Walking\u003c/em> librettist and playwright Terence McNally. \u003ci>Venus\u003c/i> features a really long scene for piano and soprano in which an attractive, middle-aged woman waits in a museum by a statue of the Goddess of Love for a blind date. Opera Parallèle’s Creative Director Brian Staufenbiel says he sees a narrative that connects both works in which the woman from \u003cem>At the Statue of Venus \u003c/em>becomes the wife, Dinah, in \u003cem>Trouble in Tahiti\u003c/em>. \u003c/p>\n\u003cp>Don’t look for happy endings, but do expect terrific music. Details on these concerts at SFJAZZ’s Miner Hall Feb. 14-18 are \u003ca href=\"https://www.sfjazz.org/tickets/productions/celebrating-bernsteins-100th/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OjT3uHN6PU}\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera Parallèle and SFJAZZ are teaming up to present a concert celebrating Leonard Bernstein’s 100th birthday — one of dozens of Bernstein birthday concerts we’ve enjoyed in the Bay Area since last fall. The two companies are presenting the one act opera \u003cem>Trouble in Tahiti from 1952,\u003c/em> for which Bernstein wrote both the score and libretto. Centered on the allure and despair of suburban life, \u003ci>Trouble\u003c/i> also features orchestrations and motifs that would come to life years later in \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823290\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg\" alt=\"Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-768x918.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696.jpg 801w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ \u003ccite>(Photo: Steve Di Bartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein began composing it on his honeymoon, yet the musical opens with a married couple bickering. It’s likely based on the the marriage of Bernstein’s parents, but it also foreshadowed the trouble to come \u003ca href=\"http://www.interlude.hk/front/leonard-bernstein-felicia-montealegrea-divided-life/\" rel=\"noopener\" target=\"_blank\">in his marriage\u003c/a> to Chilean actress Felicia Montealegre. \u003c/p>\n\u003cp>The companies are pairing \u003cem>Trouble \u003c/em>with \u003cem>At the Statue of Venus\u003c/em>, by San Francisco composer Jake Heggie and his \u003cem>Dead Man Walking\u003c/em> librettist and playwright Terence McNally. \u003ci>Venus\u003c/i> features a really long scene for piano and soprano in which an attractive, middle-aged woman waits in a museum by a statue of the Goddess of Love for a blind date. Opera Parallèle’s Creative Director Brian Staufenbiel says he sees a narrative that connects both works in which the woman from \u003cem>At the Statue of Venus \u003c/em>becomes the wife, Dinah, in \u003cem>Trouble in Tahiti\u003c/em>. \u003c/p>\n\u003cp>Don’t look for happy endings, but do expect terrific music. Details on these concerts at SFJAZZ’s Miner Hall Feb. 14-18 are \u003ca href=\"https://www.sfjazz.org/tickets/productions/celebrating-bernsteins-100th/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OjT3uHN6PU}\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\n\u003cp>https://twitter.com/katyperry/status/562539448588435456\u003c/p>\n\u003cp>https://twitter.com/desusnice/status/562065864149966850\u003c/p>\n\u003cp>https://twitter.com/James_Dator/status/562291770751733760\u003c/p>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \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=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\u003c/p>\u003c/div>",
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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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"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": {
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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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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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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},
"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"
},
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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",
"meta": {
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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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},
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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