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"content": "\u003cp>Today, hundreds of thousands of people are expected to turn out for the second annual \u003ca href=\"https://womensmarchbayarea.org/logistics-san-jose/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a>. It’s a fair bet many of the people on the streets will have been to the first march last year, like Patricia Leung of Santa Clara.\u003c/p>\n\u003cp>I first met Leung at last year’s march in San Jose. She and her husband Jonathan Evans crocheted pink yarn pussy hats \u003ci>on the scene\u003c/i>, and gave them all away. A year later, the pussy hat is still the symbol of resistance to the Trump Administration, and Leung is still crocheting.\u003c/p>\n\u003cp>She figures she’s made about 200 hats so far. “I can never keep up with the demand. People just keep asking for them. I’ve been producing continuously, and handing them out,” she says, adding that she’s become more politically engaged since last year’s march, and more personally engaged, too.\u003c/p>\n\u003cfigure id=\"attachment_13819621\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg\" alt=\"Patricia Leung multi-tasks on her commute.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Leung multi-tasks on her commute. \u003ccite>(Photo: Courtesy of Tomiko Oskotsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am actually a first generation immigrant. Like, from Hong Kong. I came here when I was 10. Particularly with the recent comments that the president has been making, it really strikes home, Leung says.\u003c/p>\n\u003cp>She started making hats with the \u003ca href=\"https://www.pussyhatproject.com\" target=\"_blank\" rel=\"noopener\">Pussy Hat Project\u003c/a>, and has also participated in the \u003ca href=\"https://www.welcomeblanket.org\" target=\"_blank\" rel=\"noopener\">Welcome Blanket\u003c/a> project the group launched last summer to celebrate refugees and immigrants in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leung chronicles her “craftivism” on Instagram under the handle \u003ca href=\"https://www.instagram.com/thenastyhooker/\" target=\"_blank\" rel=\"noopener\">the nastyhooker\u003c/a>. But the Silicon Valley software company product manager says there’s something irreplaceable about an in person, analog march.\u003c/p>\n\u003cfigure id=\"attachment_13819622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819622 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg\" alt='The \"Welcome Blanket\" project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S..' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Welcome Blanket” project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S.. \u003ccite>(Photo: Courtesy of Patricia Leung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I think technology has done to us is to isolate us into silos, and having the march where it brings people out with the same ideologies to just talk together and be with each other — I think it really helps.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Look for her today on the streets of San Jose. She’ll be the one crocheting as she marches.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, hundreds of thousands of people are expected to turn out for the second annual \u003ca href=\"https://womensmarchbayarea.org/logistics-san-jose/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a>. It’s a fair bet many of the people on the streets will have been to the first march last year, like Patricia Leung of Santa Clara.\u003c/p>\n\u003cp>I first met Leung at last year’s march in San Jose. She and her husband Jonathan Evans crocheted pink yarn pussy hats \u003ci>on the scene\u003c/i>, and gave them all away. A year later, the pussy hat is still the symbol of resistance to the Trump Administration, and Leung is still crocheting.\u003c/p>\n\u003cp>She figures she’s made about 200 hats so far. “I can never keep up with the demand. People just keep asking for them. I’ve been producing continuously, and handing them out,” she says, adding that she’s become more politically engaged since last year’s march, and more personally engaged, too.\u003c/p>\n\u003cfigure id=\"attachment_13819621\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg\" alt=\"Patricia Leung multi-tasks on her commute.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Leung multi-tasks on her commute. \u003ccite>(Photo: Courtesy of Tomiko Oskotsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am actually a first generation immigrant. Like, from Hong Kong. I came here when I was 10. Particularly with the recent comments that the president has been making, it really strikes home, Leung says.\u003c/p>\n\u003cp>She started making hats with the \u003ca href=\"https://www.pussyhatproject.com\" target=\"_blank\" rel=\"noopener\">Pussy Hat Project\u003c/a>, and has also participated in the \u003ca href=\"https://www.welcomeblanket.org\" target=\"_blank\" rel=\"noopener\">Welcome Blanket\u003c/a> project the group launched last summer to celebrate refugees and immigrants in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leung chronicles her “craftivism” on Instagram under the handle \u003ca href=\"https://www.instagram.com/thenastyhooker/\" target=\"_blank\" rel=\"noopener\">the nastyhooker\u003c/a>. But the Silicon Valley software company product manager says there’s something irreplaceable about an in person, analog march.\u003c/p>\n\u003cfigure id=\"attachment_13819622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819622 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg\" alt='The \"Welcome Blanket\" project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S..' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Welcome Blanket” project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S.. \u003ccite>(Photo: Courtesy of Patricia Leung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I think technology has done to us is to isolate us into silos, and having the march where it brings people out with the same ideologies to just talk together and be with each other — I think it really helps.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Look for her today on the streets of San Jose. She’ll be the one crocheting as she marches.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>In advance of the president’s first official year in office on Jan. 20, KQED Arts checks back in with some of the artists profiled in our massive ‘\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 Days: Art in the Age of Trump\u003c/a>‘ series from 2017. To get a read on the artistic response to this administration one year on, we ask five local creatives what’s changed for them personally, politically and creatively.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13819563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg\" alt=\"Quinn Nelson.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Nelson. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quinn Nelson\u003c/h2>\n\u003cp>Last year, 14-year-old teenage artist and political cartoonist Quinn Nelson made a lasting impression on thousands of people who picked up copies of the graphic newspaper \u003ci>RESIST!\u003c/i> at women’s marches across the country. Her political cartoon in response to President Trump’s election depicted a furious girl in overalls and pigtails surrounded by the words “I, but young, fill the void with a scream to tell you that I will fight.”\u003c/p>\n\u003cp>All told, 2017 was a big year for Nelson. In addition to being selected for \u003ci>RESIST!\u003c/i> and \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">profiled in a KQED Arts video\u003c/a>, the Oakland Public Library’s TeenZone hosted an \u003ca href=\"http://oaklandlibrary.org/events/main-library/quinn-nelson-art-exhibit-opening-party\" target=\"_blank\" rel=\"noopener\">exhibition of her drawings\u003c/a> in June; it was her very first show.\u003c/p>\n\u003cp>“I never realized how personal my art was until it was thrust out into the public eye,” she says. “It was a little anxiety-provoking, to be perfectly honest. As of now, I have no shows coming up, which is probably a good thing. My schedule is already so busy with school and sports.”\u003c/p>\n\u003cp>https://youtu.be/WUeydpL15Y8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now 15 and in high school, Nelson says she’s working on her drawing skills and exploring new styles. “I’m studying portraits of people and trying to get a better understanding of how to draw the human body and face,” she says. “So far, it’s been fun and challenging.”\u003c/p>\n\u003cp>As for politics, she remains pragmatic. “I was never too optimistic about this presidency, although I never found myself being truly pessimistic about it either,” she says. “To quote \u003ci>Star Wars\u003c/i>, ‘Darkness rises, and the light to meet it.’ Modern civilization has been perpetually engaged in moral tug-of-war for centuries. I believe that this is just another one of those instances.”\u003c/p>\n\u003cp>That doesn’t mean she’s done fighting. You might even see her at the Women’s March again this year. “The last one was so inspiring and empowering. I firmly believe that protest is essential to a productive society,” she says. “It would be so boring if everyone had the same opinions.” \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg\" alt=\"Mark Harris.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-520x325.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mark Harris. \u003ccite>(Courtesy Mark Harris/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mark Harris\u003c/h2>\n\u003cp>San Francisco-based visual artist Mark Harris was already producing politically provocative art when Donald Trump won the White House. So perhaps it’s no surprise to read that Harris, who produced a \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" target=\"_blank\" rel=\"noopener\">series of Trump-related postage stamp art\u003c/a> last year, is still at it. “I’m still exploring racism, gun violence, immigration and police violence. I’ve been delving more into the subtleties of white supremacy, and the role of whiteness and its relation to the social and political power structure in the United States,” Harris tells KQED.\u003c/p>\n\u003cp>That said, Harris insists his morale is high, even higher than it was a year ago, even though “the current administration is no friend of justice, common decency or honor,” he says. (Harris also faced a mini-media frenzy when \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">his art was removed from administrative school offices in San Jose\u003c/a> during Black History Month.)\u003c/p>\n\u003cfigure id=\"attachment_13819266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg\" alt=\"Matthew 19:v30 (But many that are first shall be last; and the last shall be first.) Mixed media collage on panel by Mark Harris (2017)\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1020x501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1180x580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-960x472.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-520x256.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Matthew 19:v30 (But many that are first shall be last; and the last shall be first.)’ Mixed media collage on panel by Mark Harris (2017). \u003ccite>(Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the collective shell-shock has worn off, people are waking up, and realizing there is work to be done to keep this thing from going completely off the rails,” the artist says. “I’m really excited to be contributing to the ‘waking up’ part.”\u003c/p>\n\u003cp>Harris has an upcoming show at Era Art Bar & Lounge in Oakland featuring works from his \u003cem>Economy of Souls\u003c/em> series, which reinterprets the $100 bill (see above), and his \u003cem>PWT’s – Poor White Trumpers\u003c/em> series. The show runs Feb. 2–March 2, with an opening reception Feb. 2 from 6pm-9pm. \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg\" alt=\"Iman Hassen of the Aswat Ensemble.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iman Hassen of the Aswat Ensemble. \u003ccite>(Najib 'Joe' Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Nabila Mango, Aswat Ensemble\u003c/h2>\n\u003cp>Last year, \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener\">we introduced you to the Aswat Ensemble’s Notes Against the Ban\u003c/a>, a concert protesting the travel ban affecting six majority-Muslim countries, and addressing growing Islamophobia. “The support we received from the various communities was amazing,” says Aswat founder Nabila Mango, citing sold-out crowds at four different performances in 2017. “So this year we are expanding on that by touching on the themes related to dreamers, immigrants and refugees.”\u003c/p>\n\u003cp>That concert, titled \u003ca href=\"https://www.facebook.com/events/1766132620357972/\" target=\"_blank\" rel=\"noopener\">A Musical Refuge: Salute to Dreamer, Immigrant, and Refugee Resistance\u003c/a>, premieres Jan. 27 at the Islamic Cultural Center in Oakland, featuring collaborations with La Pena Community Chorus, San Jose Taiko, and Vukani Mawethu Choir. (It’s sold out, but will be live-streamed.)\u003c/p>\n\u003cp>“This concert is all about solidarity between communities, celebrating diversity, and resisting the forces that attempt to silence us,” says Mango. “A year on, we are more determined than ever. The communities’ support has empowered us to stand up not only for the Arab and Muslim communities, but to stand together with all communities that face oppression and discrimination. There is no mistaking that xenophobia is on the rise and we cannot sit silently by and observe.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/215884295?title=0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the audience at last year’s Notes Against the Ban premiere was Oakland mayor Libby Schaaf, who invited the ensemble to perform an abbreviated version at her 2017 State of the City address in November. (Just this week, Schaaf made headlines by declaring that she would be willing to go to jail to defend Oakland’s sanctuary policy, which helps protect immigrants from ICE raids and deportation.) In addition to A Musical Refuge, the group will perform Notes Against the Ban once more, in Palo Alto in Februry.\u003c/p>\n\u003cp>Mango says she and her colleagues are hopeful for the future. “By creating a unified resistance to the backwards policies of the current administration,” she says, “we will be able to amplify our voices so that our call for social change and justice will be heard far and wide. We are growing, we are growing stronger, and our voices will be heard.” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13084205\" class=\"wp-caption aligncenter\" style=\"max-width: 1897px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13084205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg\" alt=\"Oakland artist Jon Proby poses with his painting ‘POTUS and me’.\" width=\"1897\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg 1897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-520x293.jpg 520w\" sizes=\"(max-width: 1897px) 100vw, 1897px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Jon Proby poses with his painting ‘POTUS.’ \u003ccite>(Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jon Proby\u003c/h2>\n\u003cp>In some ways, it’s been a great year for Jon Proby. An ardent supporter of Donald Trump, the 38-year-old California native continues to make outspoken political work from his home base of Oakland.\u003c/p>\n\u003cp>One recent piece of which he’s particularly proud is \u003cem>Modern Warfare\u003c/em>, a painting which illustrates what Proby sees as the political and spiritual conflict going on in the United States. Portraits of Vladimir Putin, Rodrigo Duterte, Trump and other hardline political figures face off on the stormy canvas against the likes of Angela Merkel and Pope Francis — “people who have negative things to say about Trump,” Proby says.\u003c/p>\n\u003cfigure id=\"attachment_13819564\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg\" alt=\"'Modern Warfare,' acrylic on canvas, by Jon Proby.\" width=\"1873\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-520x359.jpg 520w\" sizes=\"(max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Warfare,’ acrylic on canvas, by Jon Proby. \u003ccite>(Courtesy Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We \u003ca href=\"https://ww2.kqed.org/arts/2017/04/25/pro-trump-artist-jon-proby-takes-a-stand-in-oakland/\" target=\"_blank\" rel=\"noopener\">profiled Proby last year\u003c/a> when he participated in a pro-Trump art show in New York. And though he’s not currently able to make a full-time living as an artist — he works construction to pay the rent — Proby does make money through commissions and selling prints.\u003c/p>\n\u003cp>Yet in other ways, the past year hasn’t been easy. Proby relies heavily on social media to market and sell his work, and says he’s “undergone heavy censorship” on social platforms. The artist says Twitter shut down his account after the 2016 presidential election (“I had to start from scratch and I’ve never recovered from that”), and Facebook has repeatedly banned his account for 30-day stretches.\u003c/p>\n\u003cp>Proby says that though his sales are likely to take a hit, he’s planning to move his operations to Gab, the social media platform popular with Trump supporters which touts itself as “a social network that champions free speech, individual liberty, and the free flow of information online.”\u003c/p>\n\u003cp>He’s also had it with California. Proby says he’s nearly ready to move to Texas, where he feels the political climate is more friendly. “I feel like I’m in the wrong place here in California,” he says. “The Bay Area especially is backwards and resisting the changes Trump is bringing to this country.” \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819558 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg\" alt=\"Chuck Speery teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuck Sperry\u003c/h2>\n\u003cp>As KQED Arts reported last year, rock poster artist Chuck Sperry turned his attention in 2017 toward politics, designing posters for both the \u003ca href=\"https://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rock-poster-artist-chuck-sperry-turns-focus-to-science-march/\" target=\"_blank\" rel=\"noopener\">March for Science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819557\" class=\"wp-caption alignright\" style=\"max-width: 722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg\" alt=\"'Women Rising,' poster for the Women's March 2018, Chuck Sperry.\" width=\"722\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg 722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-520x691.jpg 520w\" sizes=\"(max-width: 722px) 100vw, 722px\">\u003cfigcaption class=\"wp-caption-text\">‘Women Rising,’ poster for the Women’s March 2018, Chuck Sperry. \u003ccite>(Courtesy Chuck Speery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we caught up with him this year, he’d just delivered 4,500 posters to Las Vegas and Washington, D.C. for their respective Women’s Marches on Jan. 20. This year, he plans to be in Oakland and San Francisco distributing his posters by hand and protesting the current administration, which he calls “anti-democratic, autocratic even. We need to take back control of Congress.\u003cbr>\nMy efforts are aimed at preserving our democracy, which is a very basic American core issue.”\u003c/p>\n\u003cp>For his part, Sperry vows to continue to create art for marches and other resistance activities until the current administration is removed from power. And he knows he’s not alone.\u003c/p>\n\u003cp>“I have been encouraged by the commitment of people who have spoken out strongly and in no uncertain terms against the ignorance, corruption and bigotry of the government in power,” he says. “The party in power has so debased its own values that there will be a reckoning from the common-sense American voter. We need to keep on the offensive, be seen on the streets, and heard in the media.” \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "We check in with five artists from our 'First 100 Days: Art in the Age of Trump' series to learn what's changed for them personally, politically and creatively.",
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"title": "One Year Later, How Are Artists Dealing With Trump? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In advance of the president’s first official year in office on Jan. 20, KQED Arts checks back in with some of the artists profiled in our massive ‘\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 Days: Art in the Age of Trump\u003c/a>‘ series from 2017. To get a read on the artistic response to this administration one year on, we ask five local creatives what’s changed for them personally, politically and creatively.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13819563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg\" alt=\"Quinn Nelson.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Nelson. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quinn Nelson\u003c/h2>\n\u003cp>Last year, 14-year-old teenage artist and political cartoonist Quinn Nelson made a lasting impression on thousands of people who picked up copies of the graphic newspaper \u003ci>RESIST!\u003c/i> at women’s marches across the country. Her political cartoon in response to President Trump’s election depicted a furious girl in overalls and pigtails surrounded by the words “I, but young, fill the void with a scream to tell you that I will fight.”\u003c/p>\n\u003cp>All told, 2017 was a big year for Nelson. In addition to being selected for \u003ci>RESIST!\u003c/i> and \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">profiled in a KQED Arts video\u003c/a>, the Oakland Public Library’s TeenZone hosted an \u003ca href=\"http://oaklandlibrary.org/events/main-library/quinn-nelson-art-exhibit-opening-party\" target=\"_blank\" rel=\"noopener\">exhibition of her drawings\u003c/a> in June; it was her very first show.\u003c/p>\n\u003cp>“I never realized how personal my art was until it was thrust out into the public eye,” she says. “It was a little anxiety-provoking, to be perfectly honest. As of now, I have no shows coming up, which is probably a good thing. My schedule is already so busy with school and sports.”\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/WUeydpL15Y8'\n title='//www.youtube.com/embed/WUeydpL15Y8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now 15 and in high school, Nelson says she’s working on her drawing skills and exploring new styles. “I’m studying portraits of people and trying to get a better understanding of how to draw the human body and face,” she says. “So far, it’s been fun and challenging.”\u003c/p>\n\u003cp>As for politics, she remains pragmatic. “I was never too optimistic about this presidency, although I never found myself being truly pessimistic about it either,” she says. “To quote \u003ci>Star Wars\u003c/i>, ‘Darkness rises, and the light to meet it.’ Modern civilization has been perpetually engaged in moral tug-of-war for centuries. I believe that this is just another one of those instances.”\u003c/p>\n\u003cp>That doesn’t mean she’s done fighting. You might even see her at the Women’s March again this year. “The last one was so inspiring and empowering. I firmly believe that protest is essential to a productive society,” she says. “It would be so boring if everyone had the same opinions.” \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg\" alt=\"Mark Harris.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-520x325.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mark Harris. \u003ccite>(Courtesy Mark Harris/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mark Harris\u003c/h2>\n\u003cp>San Francisco-based visual artist Mark Harris was already producing politically provocative art when Donald Trump won the White House. So perhaps it’s no surprise to read that Harris, who produced a \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" target=\"_blank\" rel=\"noopener\">series of Trump-related postage stamp art\u003c/a> last year, is still at it. “I’m still exploring racism, gun violence, immigration and police violence. I’ve been delving more into the subtleties of white supremacy, and the role of whiteness and its relation to the social and political power structure in the United States,” Harris tells KQED.\u003c/p>\n\u003cp>That said, Harris insists his morale is high, even higher than it was a year ago, even though “the current administration is no friend of justice, common decency or honor,” he says. (Harris also faced a mini-media frenzy when \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">his art was removed from administrative school offices in San Jose\u003c/a> during Black History Month.)\u003c/p>\n\u003cfigure id=\"attachment_13819266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg\" alt=\"Matthew 19:v30 (But many that are first shall be last; and the last shall be first.) Mixed media collage on panel by Mark Harris (2017)\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1020x501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1180x580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-960x472.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-520x256.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Matthew 19:v30 (But many that are first shall be last; and the last shall be first.)’ Mixed media collage on panel by Mark Harris (2017). \u003ccite>(Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the collective shell-shock has worn off, people are waking up, and realizing there is work to be done to keep this thing from going completely off the rails,” the artist says. “I’m really excited to be contributing to the ‘waking up’ part.”\u003c/p>\n\u003cp>Harris has an upcoming show at Era Art Bar & Lounge in Oakland featuring works from his \u003cem>Economy of Souls\u003c/em> series, which reinterprets the $100 bill (see above), and his \u003cem>PWT’s – Poor White Trumpers\u003c/em> series. The show runs Feb. 2–March 2, with an opening reception Feb. 2 from 6pm-9pm. \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg\" alt=\"Iman Hassen of the Aswat Ensemble.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iman Hassen of the Aswat Ensemble. \u003ccite>(Najib 'Joe' Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Nabila Mango, Aswat Ensemble\u003c/h2>\n\u003cp>Last year, \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener\">we introduced you to the Aswat Ensemble’s Notes Against the Ban\u003c/a>, a concert protesting the travel ban affecting six majority-Muslim countries, and addressing growing Islamophobia. “The support we received from the various communities was amazing,” says Aswat founder Nabila Mango, citing sold-out crowds at four different performances in 2017. “So this year we are expanding on that by touching on the themes related to dreamers, immigrants and refugees.”\u003c/p>\n\u003cp>That concert, titled \u003ca href=\"https://www.facebook.com/events/1766132620357972/\" target=\"_blank\" rel=\"noopener\">A Musical Refuge: Salute to Dreamer, Immigrant, and Refugee Resistance\u003c/a>, premieres Jan. 27 at the Islamic Cultural Center in Oakland, featuring collaborations with La Pena Community Chorus, San Jose Taiko, and Vukani Mawethu Choir. (It’s sold out, but will be live-streamed.)\u003c/p>\n\u003cp>“This concert is all about solidarity between communities, celebrating diversity, and resisting the forces that attempt to silence us,” says Mango. “A year on, we are more determined than ever. The communities’ support has empowered us to stand up not only for the Arab and Muslim communities, but to stand together with all communities that face oppression and discrimination. There is no mistaking that xenophobia is on the rise and we cannot sit silently by and observe.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/215884295?title=0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the audience at last year’s Notes Against the Ban premiere was Oakland mayor Libby Schaaf, who invited the ensemble to perform an abbreviated version at her 2017 State of the City address in November. (Just this week, Schaaf made headlines by declaring that she would be willing to go to jail to defend Oakland’s sanctuary policy, which helps protect immigrants from ICE raids and deportation.) In addition to A Musical Refuge, the group will perform Notes Against the Ban once more, in Palo Alto in Februry.\u003c/p>\n\u003cp>Mango says she and her colleagues are hopeful for the future. “By creating a unified resistance to the backwards policies of the current administration,” she says, “we will be able to amplify our voices so that our call for social change and justice will be heard far and wide. We are growing, we are growing stronger, and our voices will be heard.” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13084205\" class=\"wp-caption aligncenter\" style=\"max-width: 1897px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13084205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg\" alt=\"Oakland artist Jon Proby poses with his painting ‘POTUS and me’.\" width=\"1897\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg 1897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-520x293.jpg 520w\" sizes=\"(max-width: 1897px) 100vw, 1897px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Jon Proby poses with his painting ‘POTUS.’ \u003ccite>(Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jon Proby\u003c/h2>\n\u003cp>In some ways, it’s been a great year for Jon Proby. An ardent supporter of Donald Trump, the 38-year-old California native continues to make outspoken political work from his home base of Oakland.\u003c/p>\n\u003cp>One recent piece of which he’s particularly proud is \u003cem>Modern Warfare\u003c/em>, a painting which illustrates what Proby sees as the political and spiritual conflict going on in the United States. Portraits of Vladimir Putin, Rodrigo Duterte, Trump and other hardline political figures face off on the stormy canvas against the likes of Angela Merkel and Pope Francis — “people who have negative things to say about Trump,” Proby says.\u003c/p>\n\u003cfigure id=\"attachment_13819564\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg\" alt=\"'Modern Warfare,' acrylic on canvas, by Jon Proby.\" width=\"1873\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-520x359.jpg 520w\" sizes=\"(max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Warfare,’ acrylic on canvas, by Jon Proby. \u003ccite>(Courtesy Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We \u003ca href=\"https://ww2.kqed.org/arts/2017/04/25/pro-trump-artist-jon-proby-takes-a-stand-in-oakland/\" target=\"_blank\" rel=\"noopener\">profiled Proby last year\u003c/a> when he participated in a pro-Trump art show in New York. And though he’s not currently able to make a full-time living as an artist — he works construction to pay the rent — Proby does make money through commissions and selling prints.\u003c/p>\n\u003cp>Yet in other ways, the past year hasn’t been easy. Proby relies heavily on social media to market and sell his work, and says he’s “undergone heavy censorship” on social platforms. The artist says Twitter shut down his account after the 2016 presidential election (“I had to start from scratch and I’ve never recovered from that”), and Facebook has repeatedly banned his account for 30-day stretches.\u003c/p>\n\u003cp>Proby says that though his sales are likely to take a hit, he’s planning to move his operations to Gab, the social media platform popular with Trump supporters which touts itself as “a social network that champions free speech, individual liberty, and the free flow of information online.”\u003c/p>\n\u003cp>He’s also had it with California. Proby says he’s nearly ready to move to Texas, where he feels the political climate is more friendly. “I feel like I’m in the wrong place here in California,” he says. “The Bay Area especially is backwards and resisting the changes Trump is bringing to this country.” \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819558 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg\" alt=\"Chuck Speery teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuck Sperry\u003c/h2>\n\u003cp>As KQED Arts reported last year, rock poster artist Chuck Sperry turned his attention in 2017 toward politics, designing posters for both the \u003ca href=\"https://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rock-poster-artist-chuck-sperry-turns-focus-to-science-march/\" target=\"_blank\" rel=\"noopener\">March for Science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819557\" class=\"wp-caption alignright\" style=\"max-width: 722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg\" alt=\"'Women Rising,' poster for the Women's March 2018, Chuck Sperry.\" width=\"722\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg 722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-520x691.jpg 520w\" sizes=\"(max-width: 722px) 100vw, 722px\">\u003cfigcaption class=\"wp-caption-text\">‘Women Rising,’ poster for the Women’s March 2018, Chuck Sperry. \u003ccite>(Courtesy Chuck Speery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we caught up with him this year, he’d just delivered 4,500 posters to Las Vegas and Washington, D.C. for their respective Women’s Marches on Jan. 20. This year, he plans to be in Oakland and San Francisco distributing his posters by hand and protesting the current administration, which he calls “anti-democratic, autocratic even. We need to take back control of Congress.\u003cbr>\nMy efforts are aimed at preserving our democracy, which is a very basic American core issue.”\u003c/p>\n\u003cp>For his part, Sperry vows to continue to create art for marches and other resistance activities until the current administration is removed from power. And he knows he’s not alone.\u003c/p>\n\u003cp>“I have been encouraged by the commitment of people who have spoken out strongly and in no uncertain terms against the ignorance, corruption and bigotry of the government in power,” he says. “The party in power has so debased its own values that there will be a reckoning from the common-sense American voter. We need to keep on the offensive, be seen on the streets, and heard in the media.” \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-2m-loan-could-help-kpfa-stay-alive-but-for-how-long",
"title": "A $2m Loan Could Help KPFA Stay Alive — But For How Long?",
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"content": "\u003cp>The Berkeley-based radio network \u003ca href=\"https://www.pacifica.org/\" target=\"_blank\" rel=\"noopener\">The Pacifica Foundation\u003c/a> — parent to \u003ca href=\"https://kpfa.org\" target=\"_blank\" rel=\"noopener\">KPFA\u003c/a>, Berkeley’s beloved bastion of left-wing public affairs and eclectic cultural programming, as well as four other stations around the country — expects to sign off on a $2 million dollar loan this week to pay off part of a larger debt.\u003c/p>\n\u003cp>Bill Crosier, KPFA’s interim executive director, says the loan, offered by friends of the network, will help Pacifica to cover the $1.8 million it owes in back rent for its New York station, WBAI. The station is housed in the Empire State Building, where the rent on its space currently stands at $65,000 a month.\u003c/p>\n\u003cp>“The annual increase every year goes up about nine percent,” Crosier says. “They just haven’t been able to keep up with that.”\u003c/p>\n\u003cfigure id=\"attachment_13819401\" class=\"wp-caption alignright\" style=\"max-width: 245px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/download.png\" alt=\"KPFA logo.\" width=\"245\" height=\"205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/download.png 245w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/download-160x134.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/download-240x201.png 240w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003cfigcaption class=\"wp-caption-text\">KPFA logo. \u003ccite>(Photo: Courtesy of KPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New York City-based realtor \u003ca href=\"http://www.empirestaterealtytrust.com/\" target=\"_blank\" rel=\"noopener\">Empire State Realty Trust\u003c/a>, which owns the Empire State Building, won a lawsuit against Pacifica last October. The company could seize Pacifica’s assets, including those of KPFA, if the network doesn’t meet its obligations.\u003c/p>\n\u003cp>The network’s total debt stands at around $8 million dollars. So longer term, Crosier says Pacifica’s board is considering options like borrowing even more money and selling assets. Another option is to file for Chapter 11 bankruptcy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crosier says it’s also important for Pacifica to look for ways to increase revenue, like cultivating a larger listener base, pursuing more big donors, and increasing its promotion efforts.\u003c/p>\n\u003cp>“We need to do more promotion to help people know that we exist and we have programming that they can’t find elsewhere,” Crosier says.\u003c/p>\n\u003cp>But Crosier says the network hasn’t yet come to an agreement about its longer-term strategy for sustainability.\u003c/p>\n\u003cp>“One of the troubling things is eventually, obviously, we have to pay the debt off, and we don’t have a repayment plan defined yet,” Crosier says.\u003c/p>\n\u003cfigure id=\"attachment_13819384\" class=\"wp-caption alignleft\" style=\"max-width: 249px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742.jpg\" alt=\"One of KPFA's longtime hosts, Mary Tilson, at the mic.\" width=\"249\" height=\"141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742.jpg 249w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742-240x136.jpg 240w\" sizes=\"(max-width: 249px) 100vw, 249px\">\u003cfigcaption class=\"wp-caption-text\">One of KPFA’s longtime hosts, Mary Tilson, at the mic. \u003ccite>(Photo: Courtesy of KPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 1949, KPFA was the first listener-supported radio broadcaster in the United States. Its signal reaches about a third of California’s residents. Pacifica also operates listener-supported radio stations in New York, Washington, D.C., Los Angeles and Houston.\u003c/p>\n\u003cp>Its regular weekly programs include the current affairs show \u003cem>Behind the News \u003c/em>hosted by Doug Henwood, the African issues-focused \u003cem>Africa Today\u003c/em> hosted by Walter Turner,\u003cem> \u003c/em>and the music show \u003cem>Americas Back 40\u003c/em> hosted by Mary Tilson.\u003c/p>\n\u003cp>Washington, D.C.-based media executive and former NPR chief executive Ken Stern worries for the future of the pioneering public media organization.\u003c/p>\n\u003cp>“It’s pretty clear that they are deeply challenged organization,” Stern says. “It’s too bad, because they have an important service, an important voice in the public debate. Hope they find a way to keep it going.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The loan to Pacifica may secure the short-term future of flagship station KPFA in Berkeley, and four other stations nationwide — but its long-term security is still in doubt.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley-based radio network \u003ca href=\"https://www.pacifica.org/\" target=\"_blank\" rel=\"noopener\">The Pacifica Foundation\u003c/a> — parent to \u003ca href=\"https://kpfa.org\" target=\"_blank\" rel=\"noopener\">KPFA\u003c/a>, Berkeley’s beloved bastion of left-wing public affairs and eclectic cultural programming, as well as four other stations around the country — expects to sign off on a $2 million dollar loan this week to pay off part of a larger debt.\u003c/p>\n\u003cp>Bill Crosier, KPFA’s interim executive director, says the loan, offered by friends of the network, will help Pacifica to cover the $1.8 million it owes in back rent for its New York station, WBAI. The station is housed in the Empire State Building, where the rent on its space currently stands at $65,000 a month.\u003c/p>\n\u003cp>“The annual increase every year goes up about nine percent,” Crosier says. “They just haven’t been able to keep up with that.”\u003c/p>\n\u003cfigure id=\"attachment_13819401\" class=\"wp-caption alignright\" style=\"max-width: 245px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/download.png\" alt=\"KPFA logo.\" width=\"245\" height=\"205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/download.png 245w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/download-160x134.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/download-240x201.png 240w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003cfigcaption class=\"wp-caption-text\">KPFA logo. \u003ccite>(Photo: Courtesy of KPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New York City-based realtor \u003ca href=\"http://www.empirestaterealtytrust.com/\" target=\"_blank\" rel=\"noopener\">Empire State Realty Trust\u003c/a>, which owns the Empire State Building, won a lawsuit against Pacifica last October. The company could seize Pacifica’s assets, including those of KPFA, if the network doesn’t meet its obligations.\u003c/p>\n\u003cp>The network’s total debt stands at around $8 million dollars. So longer term, Crosier says Pacifica’s board is considering options like borrowing even more money and selling assets. Another option is to file for Chapter 11 bankruptcy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crosier says it’s also important for Pacifica to look for ways to increase revenue, like cultivating a larger listener base, pursuing more big donors, and increasing its promotion efforts.\u003c/p>\n\u003cp>“We need to do more promotion to help people know that we exist and we have programming that they can’t find elsewhere,” Crosier says.\u003c/p>\n\u003cp>But Crosier says the network hasn’t yet come to an agreement about its longer-term strategy for sustainability.\u003c/p>\n\u003cp>“One of the troubling things is eventually, obviously, we have to pay the debt off, and we don’t have a repayment plan defined yet,” Crosier says.\u003c/p>\n\u003cfigure id=\"attachment_13819384\" class=\"wp-caption alignleft\" style=\"max-width: 249px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742.jpg\" alt=\"One of KPFA's longtime hosts, Mary Tilson, at the mic.\" width=\"249\" height=\"141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742.jpg 249w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Mary-Tilson-KPFA-e1516224502742-240x136.jpg 240w\" sizes=\"(max-width: 249px) 100vw, 249px\">\u003cfigcaption class=\"wp-caption-text\">One of KPFA’s longtime hosts, Mary Tilson, at the mic. \u003ccite>(Photo: Courtesy of KPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 1949, KPFA was the first listener-supported radio broadcaster in the United States. Its signal reaches about a third of California’s residents. Pacifica also operates listener-supported radio stations in New York, Washington, D.C., Los Angeles and Houston.\u003c/p>\n\u003cp>Its regular weekly programs include the current affairs show \u003cem>Behind the News \u003c/em>hosted by Doug Henwood, the African issues-focused \u003cem>Africa Today\u003c/em> hosted by Walter Turner,\u003cem> \u003c/em>and the music show \u003cem>Americas Back 40\u003c/em> hosted by Mary Tilson.\u003c/p>\n\u003cp>Washington, D.C.-based media executive and former NPR chief executive Ken Stern worries for the future of the pioneering public media organization.\u003c/p>\n\u003cp>“It’s pretty clear that they are deeply challenged organization,” Stern says. “It’s too bad, because they have an important service, an important voice in the public debate. Hope they find a way to keep it going.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artificial intelligence is all the rage these days in Silicon Valley – and no wonder. There appears to be no end to the possible applications. Some say AI is simply freeing humans of the \u003ci>boring\u003c/i> tasks, so we can pursue activities that bring us joy. But what if AI is better at those things, too? Like, writing music?\u003c/p>\n\u003cp>For starters, we’re way past the advent of computer-composed music. That hurdle was crossed back in 1957 when professors Lejaren Hiller and Leonard Isaacson at the University of Illinois at Urbana-Champaign programmed the “Illiac Suite for String Quartet,” on the ILLIAC I computer.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=n0njBFLQSk8]\u003c/p>\n\u003cp>Another big moment in computer music history: 1996, when \u003ca href=\"https://twitter.com/dark_shark/status/712129070725730304\" target=\"_blank\" rel=\"noopener\">Brian Eno\u003c/a>’s album “Generative Music 1” was released on floppy disk, an old form of data storage familiar to Baby Boomers.\u003c/p>\n\u003cp>Here’s Eno back in the day talking about it on the now defunct BBC Radio 3 program, \u003cem>Mixing It\u003c/em>. “To explain this simply, in the computer there’s a little synthesizer, basically. What I do is provide sets of rules that tell the computer how to make that sound card work,” Eno says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The music his programming generated was different every time the program was run, but the code essentially dictated the output.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=yJgAQ3xWMoA]\u003c/p>\n\u003cp>Today, scientists at lots of tech companies are working on something a little more sophisticated. Neural networks develop their own rules from the materials they’re fed.\u003c/p>\n\u003cp>Research scientist Doug Eck runs a group at Google called \u003ca href=\"https://magenta.tensorflow.org/blog/\" target=\"_blank\" rel=\"noopener\">Magenta\u003c/a>. “I think that what we’re doing that’s different from previous attempts to apply technology and computation to art is really caring about machine learning, specifically. Deep neural networks. Recurrent neural networks. Reinforcement learning. I guess the best way to put it is: it’s easier to help a machine learn to solve a problem with data than to try to build the solution in.”\u003c/p>\n\u003cp>Translation: they’re crafting software that loosely imitates how \u003ci>your brain\u003c/i> works.\u003c/p>\n\u003cp>It’s amazing how much we take for granted enjoying just about any composition. \u003cb>\u003c/b>Musicians — and scientists — will tell you there’s a shockingly long list of things your brain is responding to: including rhythm, tonality, repetition, but also the way the melody \u003ci>develops,\u003c/i> so it’s not exactly the same thing you heard a few bars before. You can write code that mimics all that? Scientists are getting there.\u003c/p>\n\u003cp>Software engineer Dan Abolafia says, “We starting to give these neural networks memory, to be able to remember what it did in a piece of music and have more intention about how it wants to build on that— which is surprisingly not something we were able to do not too long ago,” Abolafia says.\u003c/p>\n\u003cfigure id=\"attachment_13819189\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/performance_rnn.gif\" alt=\"AI is getting better all the time. Performance RNN, for instance, is a recurrent neural network from the Google Magenta team designed to model polyphonic music with expressive timing and dynamics.\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">AI is getting better all the time. Performance RNN, for instance, is a recurrent neural network from the Google Magenta team designed to model polyphonic music with expressive timing and dynamics. \u003ccite>(Photo: Courtesy of Google)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He adds, “the second, much harder goal is to give the computer an ear, so to speak. To hear the music and decide if it sounds good or not. That’s something that people are starting to do with a technique called reinforcement learning.\u003c/p>\n\u003cp>So where is this all going? The team at Google won’t tell you they’re trying to replace human composers, so much as they’re trying to help human composers with a new set of tools.\u003c/p>\n\u003cp>Eck explains, “We’re talking about building tools for creative people. So at the end of the day, I don’t have this vision that someone is going to take Magenta-generated music and just kind of sit in a chair with two big speakers, and say ‘OK, I’m going to listen to this.’ I want the models to generate interesting music, and interesting art. so that you can try to do some new things.”\u003c/p>\n\u003cp>Think about the advent of photography. It didn’t end visual art. Instead, it shifted what artists wanted to say and how. Google has made its code open to the public, to encourage people like music producer Andrew Huang to play with it (and also promote it).\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=AaALLWQmCdI]\u003c/p>\n\u003cp>Among other things, Huang got jazzed about the capacity of Google’s software to smerge totally unrelated sounds to create new sounds. “What if we take this baby goat and combine that with that 3D printer? Oops, just summoned Satan,” he says of the result.\u003c/p>\n\u003cp>Huang crowd-sourced a bunch of raw sounds from his social media fans, and sent that along to Google along with some drum samples. Google smerged a bunch of new sounds, sent them back to Huang and he arranged them into a compelling composition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s not bad. It’s not quite my cup of tea, either, but a lot of what makes music exciting to me is messy, idiosyncratic and specific to time and place. Then again, wait a few years, and it’s possible AI will be able to replicate that, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artificial intelligence is all the rage these days in Silicon Valley – and no wonder. There appears to be no end to the possible applications. Some say AI is simply freeing humans of the \u003ci>boring\u003c/i> tasks, so we can pursue activities that bring us joy. But what if AI is better at those things, too? Like, writing music?\u003c/p>\n\u003cp>For starters, we’re way past the advent of computer-composed music. That hurdle was crossed back in 1957 when professors Lejaren Hiller and Leonard Isaacson at the University of Illinois at Urbana-Champaign programmed the “Illiac Suite for String Quartet,” on the ILLIAC I computer.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n0njBFLQSk8'\n title='//www.youtube.com/embed/n0njBFLQSk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Another big moment in computer music history: 1996, when \u003ca href=\"https://twitter.com/dark_shark/status/712129070725730304\" target=\"_blank\" rel=\"noopener\">Brian Eno\u003c/a>’s album “Generative Music 1” was released on floppy disk, an old form of data storage familiar to Baby Boomers.\u003c/p>\n\u003cp>Here’s Eno back in the day talking about it on the now defunct BBC Radio 3 program, \u003cem>Mixing It\u003c/em>. “To explain this simply, in the computer there’s a little synthesizer, basically. What I do is provide sets of rules that tell the computer how to make that sound card work,” Eno says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The music his programming generated was different every time the program was run, but the code essentially dictated the output.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yJgAQ3xWMoA'\n title='//www.youtube.com/embed/yJgAQ3xWMoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Today, scientists at lots of tech companies are working on something a little more sophisticated. Neural networks develop their own rules from the materials they’re fed.\u003c/p>\n\u003cp>Research scientist Doug Eck runs a group at Google called \u003ca href=\"https://magenta.tensorflow.org/blog/\" target=\"_blank\" rel=\"noopener\">Magenta\u003c/a>. “I think that what we’re doing that’s different from previous attempts to apply technology and computation to art is really caring about machine learning, specifically. Deep neural networks. Recurrent neural networks. Reinforcement learning. I guess the best way to put it is: it’s easier to help a machine learn to solve a problem with data than to try to build the solution in.”\u003c/p>\n\u003cp>Translation: they’re crafting software that loosely imitates how \u003ci>your brain\u003c/i> works.\u003c/p>\n\u003cp>It’s amazing how much we take for granted enjoying just about any composition. \u003cb>\u003c/b>Musicians — and scientists — will tell you there’s a shockingly long list of things your brain is responding to: including rhythm, tonality, repetition, but also the way the melody \u003ci>develops,\u003c/i> so it’s not exactly the same thing you heard a few bars before. You can write code that mimics all that? Scientists are getting there.\u003c/p>\n\u003cp>Software engineer Dan Abolafia says, “We starting to give these neural networks memory, to be able to remember what it did in a piece of music and have more intention about how it wants to build on that— which is surprisingly not something we were able to do not too long ago,” Abolafia says.\u003c/p>\n\u003cfigure id=\"attachment_13819189\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/performance_rnn.gif\" alt=\"AI is getting better all the time. Performance RNN, for instance, is a recurrent neural network from the Google Magenta team designed to model polyphonic music with expressive timing and dynamics.\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">AI is getting better all the time. Performance RNN, for instance, is a recurrent neural network from the Google Magenta team designed to model polyphonic music with expressive timing and dynamics. \u003ccite>(Photo: Courtesy of Google)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He adds, “the second, much harder goal is to give the computer an ear, so to speak. To hear the music and decide if it sounds good or not. That’s something that people are starting to do with a technique called reinforcement learning.\u003c/p>\n\u003cp>So where is this all going? The team at Google won’t tell you they’re trying to replace human composers, so much as they’re trying to help human composers with a new set of tools.\u003c/p>\n\u003cp>Eck explains, “We’re talking about building tools for creative people. So at the end of the day, I don’t have this vision that someone is going to take Magenta-generated music and just kind of sit in a chair with two big speakers, and say ‘OK, I’m going to listen to this.’ I want the models to generate interesting music, and interesting art. so that you can try to do some new things.”\u003c/p>\n\u003cp>Think about the advent of photography. It didn’t end visual art. Instead, it shifted what artists wanted to say and how. Google has made its code open to the public, to encourage people like music producer Andrew Huang to play with it (and also promote it).\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AaALLWQmCdI'\n title='//www.youtube.com/embed/AaALLWQmCdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Among other things, Huang got jazzed about the capacity of Google’s software to smerge totally unrelated sounds to create new sounds. “What if we take this baby goat and combine that with that 3D printer? Oops, just summoned Satan,” he says of the result.\u003c/p>\n\u003cp>Huang crowd-sourced a bunch of raw sounds from his social media fans, and sent that along to Google along with some drum samples. Google smerged a bunch of new sounds, sent them back to Huang and he arranged them into a compelling composition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s not bad. It’s not quite my cup of tea, either, but a lot of what makes music exciting to me is messy, idiosyncratic and specific to time and place. Then again, wait a few years, and it’s possible AI will be able to replicate that, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tech companies call it the “smart home.” You know, your refrigerator talks to Amazon. Your doorbell talks to Apple. Your virtual assistant talks to your kids. How do you feel about that last one? \u003cb>\u003c/b>\u003c/p>\n\u003cp>Graham Charles is a stay-at-home dad in San Francisco with two daughters: nine year-old Claudia , and 11 year-old Fern. They’ve had an Amazon Echo Dot for a little over a year.\u003c/p>\n\u003cp>Charles bought it for the house because he wanted to turn the lights on and off. “We have a home automation system but you have to find the app, and now I can just say ‘Alexa, turn off the kitchen counter lights.’”\u003c/p>\n\u003cp>The girls like to use it for help with homework and play music. A lot of kids (I’m not naming any names here) also like to encourage virtual assistants to say bad words or make fart sounds. \u003cb>\u003c/b>\u003c/p>\n\u003cp>Even though Charles bought the Dot, the virtual assistant is tracking everyone in the home who talks to it. The ostensible intent of the tracking is to deliver a more satisfying, personalized experience, but there are other directives: to track your habits for advertisers — and to make shopping effortless. What stops the girls from stuffing Charles’ Amazon shopping cart with chocolate or chips or whatever?\u003c/p>\n\u003cfigure id=\"attachment_13819178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-800x450.jpg\" alt=\"Meet the Google Home family. Three devices each ready to respond to the sound of your voice -- and your children's voices.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meet the Google Home family. Three devices each ready to respond to the sound of your voice — and your children’s voices. \u003ccite>(Photo: Courtesy of Google)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, I haven’t done that before, but that’s a good idea,” Fern says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Great. Now I’m corrupting innocent children with my reporting.\u003c/p>\n\u003cp>But Charles says he’s not really worried about his kids behaving badly — or companies tracking his family, be they Amazon or Nabisco. Some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/04/how-paranoid-should-you-be-about-your-nosy-virtual-assistant/\" target=\"_blank\" rel=\"noopener\">consumer advocates say\u003c/a> advertisers shouldn’t be allowed to, but Charles says, “I think the only thing that keeps kids safe is teaching them how to keep themselves safe.”\u003c/p>\n\u003cp>He adds, “I think that their world is going to be consumed with technology for their entire lives, so they’d better get used to making their own choices about it now.”\u003c/p>\n\u003cp>His daughter Claudia isn’t so optimistic. She says she even tapes over the camera on the computer she uses. I ask who she worries might be snooping on her. “Probably the President (Donald Trump).”\u003c/p>\n\u003cfigure id=\"attachment_13819179\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/4999-2.jpg\" alt=\"Apple is expected to enter the market for virtual assistants later this year with a product called HomePod.\" width=\"620\" height=\"349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-520x293.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Apple is expected to enter the market for virtual assistants later this year with a product called HomePod. \u003ccite>(Photo: Courtesy of Apple)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Their lives are online. You know, some children have been tracked since they were in utero!” says Yalda Uhls, a research scientist who studies children and media at UCLA and works with Common Sense Media, a non-profit advocacy group for parents. She says there is no privacy for anyone in the way older generations used to think of it. Not even for kids.\u003c/p>\n\u003cp>“Think through every device you bring into the home that they’re going to touch. Because they are going to be tracked,” Uhls says.\u003c/p>\n\u003cp>What you can do, Uhls says, is help them navigate this brave new world by being a mentor instead of a policeman. “We’re in an attention economy, and yes, these devices grab our attention possibly more than, you know, a movie did, or a TV show did. So teach your child to be a smart consumer and to think about things.”\u003c/p>\n\u003cp>If Uhls lies awake at night worrying about the future, it’s usually because she just watched an episode of the science fiction show \u003cem>Black Mirror.\u003c/em> Like the one called, “Arkangel,” where a mom gets a chip implanted in her daughter’s brain that allows her to monitor what her child sees through a tablet. The idea is to protect her daughter, but, I don’t need to tell you it ends badly.\u003c/p>\n\u003cp>But that’s science fiction… right?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=yef_HfQoBd8]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tech companies call it the “smart home.” You know, your refrigerator talks to Amazon. Your doorbell talks to Apple. Your virtual assistant talks to your kids. How do you feel about that last one? \u003cb>\u003c/b>\u003c/p>\n\u003cp>Graham Charles is a stay-at-home dad in San Francisco with two daughters: nine year-old Claudia , and 11 year-old Fern. They’ve had an Amazon Echo Dot for a little over a year.\u003c/p>\n\u003cp>Charles bought it for the house because he wanted to turn the lights on and off. “We have a home automation system but you have to find the app, and now I can just say ‘Alexa, turn off the kitchen counter lights.’”\u003c/p>\n\u003cp>The girls like to use it for help with homework and play music. A lot of kids (I’m not naming any names here) also like to encourage virtual assistants to say bad words or make fart sounds. \u003cb>\u003c/b>\u003c/p>\n\u003cp>Even though Charles bought the Dot, the virtual assistant is tracking everyone in the home who talks to it. The ostensible intent of the tracking is to deliver a more satisfying, personalized experience, but there are other directives: to track your habits for advertisers — and to make shopping effortless. What stops the girls from stuffing Charles’ Amazon shopping cart with chocolate or chips or whatever?\u003c/p>\n\u003cfigure id=\"attachment_13819178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-800x450.jpg\" alt=\"Meet the Google Home family. Three devices each ready to respond to the sound of your voice -- and your children's voices.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/63_BP_PRODUCT_GRC_17118_17_07_17_GGL_63_03.max-2800x2800-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meet the Google Home family. Three devices each ready to respond to the sound of your voice — and your children’s voices. \u003ccite>(Photo: Courtesy of Google)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, I haven’t done that before, but that’s a good idea,” Fern says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Great. Now I’m corrupting innocent children with my reporting.\u003c/p>\n\u003cp>But Charles says he’s not really worried about his kids behaving badly — or companies tracking his family, be they Amazon or Nabisco. Some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/04/how-paranoid-should-you-be-about-your-nosy-virtual-assistant/\" target=\"_blank\" rel=\"noopener\">consumer advocates say\u003c/a> advertisers shouldn’t be allowed to, but Charles says, “I think the only thing that keeps kids safe is teaching them how to keep themselves safe.”\u003c/p>\n\u003cp>He adds, “I think that their world is going to be consumed with technology for their entire lives, so they’d better get used to making their own choices about it now.”\u003c/p>\n\u003cp>His daughter Claudia isn’t so optimistic. She says she even tapes over the camera on the computer she uses. I ask who she worries might be snooping on her. “Probably the President (Donald Trump).”\u003c/p>\n\u003cfigure id=\"attachment_13819179\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/4999-2.jpg\" alt=\"Apple is expected to enter the market for virtual assistants later this year with a product called HomePod.\" width=\"620\" height=\"349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4999-2-520x293.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Apple is expected to enter the market for virtual assistants later this year with a product called HomePod. \u003ccite>(Photo: Courtesy of Apple)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Their lives are online. You know, some children have been tracked since they were in utero!” says Yalda Uhls, a research scientist who studies children and media at UCLA and works with Common Sense Media, a non-profit advocacy group for parents. She says there is no privacy for anyone in the way older generations used to think of it. Not even for kids.\u003c/p>\n\u003cp>“Think through every device you bring into the home that they’re going to touch. Because they are going to be tracked,” Uhls says.\u003c/p>\n\u003cp>What you can do, Uhls says, is help them navigate this brave new world by being a mentor instead of a policeman. “We’re in an attention economy, and yes, these devices grab our attention possibly more than, you know, a movie did, or a TV show did. So teach your child to be a smart consumer and to think about things.”\u003c/p>\n\u003cp>If Uhls lies awake at night worrying about the future, it’s usually because she just watched an episode of the science fiction show \u003cem>Black Mirror.\u003c/em> Like the one called, “Arkangel,” where a mom gets a chip implanted in her daughter’s brain that allows her to monitor what her child sees through a tablet. The idea is to protect her daughter, but, I don’t need to tell you it ends badly.\u003c/p>\n\u003cp>But that’s science fiction… right?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yef_HfQoBd8'\n title='//www.youtube.com/embed/yef_HfQoBd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On January 19th, 2018, “America’s Got Talent” \u003ca href=\"http://www.americasgottalentauditions.com/audition-cities/san-jose/\" target=\"_blank\" rel=\"noopener\">holds auditions\u003c/a> in San Jose. Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=J4CIO4uPpMw]\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n",
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"title": "San Jose Hip Hop Dance Class Inspires Teacher to Reach for the Stars | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On January 19th, 2018, “America’s Got Talent” \u003ca href=\"http://www.americasgottalentauditions.com/audition-cities/san-jose/\" target=\"_blank\" rel=\"noopener\">holds auditions\u003c/a> in San Jose. Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J4CIO4uPpMw'\n title='//www.youtube.com/embed/J4CIO4uPpMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate",
"headTitle": "The Story of Johnny Cash’s Unlikely Collaboration with a Folsom Inmate | KQED",
"content": "\u003cp>The night before Johnny Cash’s legendary Jan. 13, 1968 appearance at Folsom Prison, a prison minister handed him a recording of inmate Glen Sherley’s song inspired by the penitentiary’s imposing granite chapel.\u003c/p>\n\u003cp>“John says, ‘Well, anybody got a tape recorder?’ So I raised my hand,” recalls Gene Beley, then a young reporter for the Ventura Star Free Press, who was there at the time. “And we put this little demo tape on there and it was ‘Greystone Chapel’ by Glen Sherley. And he says, ‘I want to record it.'”\u003c/p>\n\u003cfigure id=\"attachment_13818895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818895\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley's song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash copied down the lyrics in his hotel room and started working on the song. The reporter later caught the rehearsal on tape. (If you listen to the audio at the top of this story, you can hear Cash and his band practice the new song. This tape has never been heard before by the public.)\u003c/p>\n\u003cp>The next morning — 50 years ago this week — Cash and his entourage headed out to record what would become one of the most influential albums of the twentieth century, \u003cem>Johnny Cash at Folsom Prison\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13818897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg\" alt=\"Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash's seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before and the concert.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash’s seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before the concert. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash received a rapturous welcome at the penitentiary, located northeast of Sacramento. “All the guys screaming and hollering and hootin’ and whistlin,” Beley says. “I had never been to another show that had those kind of reactions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Glen Sherley had a front-row seat in the prison’s drab cafeteria for\u003cbr>\nthe show. The convict was doing time for armed robbery. He had no idea that Cash had gotten hold of his song when Cash announced, “This song was written by our friend Glen Sherley. I hope we do your song justice, Glen.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Greystone Chapel\" -- Glen Sherley' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/HEsSOFwPbws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Starting in 1957, Cash performed many prison concerts over the years, including four dates at Folsom.\u003c/p>\n\u003cp>But the 1968 gig helped to relaunch the singer’s career, which was floundering at the time in large part due to his dependence on prescription pills.\u003c/p>\n\u003cp>It also boosted Cash’s ongoing campaign for prison reform. That’s an issue his daughter Tara Cash Schwoebel says her father had long held dear. “It really spoke to his rebellious side,” Schwoebel says. “He had a passion for just standing up for these people who were locked up and treated so poorly.”\u003c/p>\n\u003cfigure id=\"attachment_13818896\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg\" alt=\"Johnny Cash with his daughter Tara.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash with his daughter Tara. \u003ccite>(Photo: Courtesy Tara Cash Schwoebel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cash and Sherley hit it off. A life‐long Christian who believed strongly in redemption, Cash did a lot to get his new friend on the right path. In 1971, he lobbied successfully to get the handsome inmate paroled, and gave him a job as a performer with his band. He even helped Sherley cut his own album.\u003c/p>\n\u003cp>Sherley did his best to adjust to his new life on the outside. He joined Cash’s crusade for prison reform, even testifying alongside his mentor at a U.S. Senate subcommittee hearing on the issue in 1972.\u003c/p>\n\u003cp>He also got married, and adopted a son. Keith Sherley remembers his dad fondly. “My dad had a great laugh and a great smile,” he says. “We did a lot of things together and he was fun.”\u003c/p>\n\u003cfigure id=\"attachment_13818898\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png\" alt='Johnny Cash and the Tennessee Three. WS \"Fluke\" Holland on drums' width=\"582\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--375x209.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--520x289.png 520w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash and the Tennessee Three. WS “Fluke” Holland on drums. \u003ccite>(Photo: Courtesy WS \"Fluke\" Holland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Cash’s drummer, WS “Fluke” Holland, says Sherley was a real gentleman on the road. “I don’t know of anybody I’ve ever been around who was nicer than Glen Sherley,” Holland says.\u003c/p>\n\u003cp>But Sherley found it hard to cope with being thrust under the spotlight after years in prison. Keith Sherley says his dad was battling drug addiction and wasn’t easy to live with. “There was a lot of domestic trouble between he and my mom,” Keith Sherley says. “There was a lot of problems with being consistent; with being reliable.”\u003c/p>\n\u003cp>The issues bled into his professional life.\u003cstrong> \u003c/strong>Schwoebel says the parolee’s behavior became increasingly threatening and erratic. “And so my father realized that it was time to kind of break ties with him,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13818903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg\" alt=\"Folsom Prison's imposing gatehouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, Cash kicked Sherley out of the band. His marriage ended and his life spiraled out of control. He wound up living with his brother in California and worked on a feedlot near Salinas. In 1978, he killed himself. He was 42.\u003c/p>\n\u003cp>Schwoebel says her father was devastated. “It was a wakeup call that he realized he couldn’t save everybody,” she says.\u003c/p>\n\u003cp>On the day Cash heard the tragic news, the singer drew a picture in his journal of a bird flying away from a prison cell window. Keith Sherley says he was shown the journal page by a Cash scholar.\u003c/p>\n\u003cp>“And beneath it, he wrote the caption, ‘The Lord has set my soul free,'” Keith Sherley says, recalling that these are words from “Greystone Chapel,” the song that first brought the two men together. “I think John understood that released his soul, and that he was finally free from whatever demons that he had been dealing with.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>With thanks to Gene Beley and Sony for providing access to and permission to use a few seconds of footage from Cash’s as-yet-unreleased Jan 12, 1968 rehearsal tape. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This bittersweet story of redemption-gone-wrong features unreleased audio from the night before the Man in Black performed his legendary session at Folsom on Jan. 13, 1968.",
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"description": "This bittersweet story of redemption-gone-wrong features unreleased audio from the night before the Man in Black performed his legendary session at Folsom on Jan. 13, 1968.",
"title": "The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The night before Johnny Cash’s legendary Jan. 13, 1968 appearance at Folsom Prison, a prison minister handed him a recording of inmate Glen Sherley’s song inspired by the penitentiary’s imposing granite chapel.\u003c/p>\n\u003cp>“John says, ‘Well, anybody got a tape recorder?’ So I raised my hand,” recalls Gene Beley, then a young reporter for the Ventura Star Free Press, who was there at the time. “And we put this little demo tape on there and it was ‘Greystone Chapel’ by Glen Sherley. And he says, ‘I want to record it.'”\u003c/p>\n\u003cfigure id=\"attachment_13818895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818895\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley's song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash copied down the lyrics in his hotel room and started working on the song. The reporter later caught the rehearsal on tape. (If you listen to the audio at the top of this story, you can hear Cash and his band practice the new song. This tape has never been heard before by the public.)\u003c/p>\n\u003cp>The next morning — 50 years ago this week — Cash and his entourage headed out to record what would become one of the most influential albums of the twentieth century, \u003cem>Johnny Cash at Folsom Prison\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13818897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg\" alt=\"Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash's seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before and the concert.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash’s seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before the concert. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash received a rapturous welcome at the penitentiary, located northeast of Sacramento. “All the guys screaming and hollering and hootin’ and whistlin,” Beley says. “I had never been to another show that had those kind of reactions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Glen Sherley had a front-row seat in the prison’s drab cafeteria for\u003cbr>\nthe show. The convict was doing time for armed robbery. He had no idea that Cash had gotten hold of his song when Cash announced, “This song was written by our friend Glen Sherley. I hope we do your song justice, Glen.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Greystone Chapel\" -- Glen Sherley' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/HEsSOFwPbws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Starting in 1957, Cash performed many prison concerts over the years, including four dates at Folsom.\u003c/p>\n\u003cp>But the 1968 gig helped to relaunch the singer’s career, which was floundering at the time in large part due to his dependence on prescription pills.\u003c/p>\n\u003cp>It also boosted Cash’s ongoing campaign for prison reform. That’s an issue his daughter Tara Cash Schwoebel says her father had long held dear. “It really spoke to his rebellious side,” Schwoebel says. “He had a passion for just standing up for these people who were locked up and treated so poorly.”\u003c/p>\n\u003cfigure id=\"attachment_13818896\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg\" alt=\"Johnny Cash with his daughter Tara.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash with his daughter Tara. \u003ccite>(Photo: Courtesy Tara Cash Schwoebel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cash and Sherley hit it off. A life‐long Christian who believed strongly in redemption, Cash did a lot to get his new friend on the right path. In 1971, he lobbied successfully to get the handsome inmate paroled, and gave him a job as a performer with his band. He even helped Sherley cut his own album.\u003c/p>\n\u003cp>Sherley did his best to adjust to his new life on the outside. He joined Cash’s crusade for prison reform, even testifying alongside his mentor at a U.S. Senate subcommittee hearing on the issue in 1972.\u003c/p>\n\u003cp>He also got married, and adopted a son. Keith Sherley remembers his dad fondly. “My dad had a great laugh and a great smile,” he says. “We did a lot of things together and he was fun.”\u003c/p>\n\u003cfigure id=\"attachment_13818898\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png\" alt='Johnny Cash and the Tennessee Three. WS \"Fluke\" Holland on drums' width=\"582\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--375x209.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--520x289.png 520w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash and the Tennessee Three. WS “Fluke” Holland on drums. \u003ccite>(Photo: Courtesy WS \"Fluke\" Holland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Cash’s drummer, WS “Fluke” Holland, says Sherley was a real gentleman on the road. “I don’t know of anybody I’ve ever been around who was nicer than Glen Sherley,” Holland says.\u003c/p>\n\u003cp>But Sherley found it hard to cope with being thrust under the spotlight after years in prison. Keith Sherley says his dad was battling drug addiction and wasn’t easy to live with. “There was a lot of domestic trouble between he and my mom,” Keith Sherley says. “There was a lot of problems with being consistent; with being reliable.”\u003c/p>\n\u003cp>The issues bled into his professional life.\u003cstrong> \u003c/strong>Schwoebel says the parolee’s behavior became increasingly threatening and erratic. “And so my father realized that it was time to kind of break ties with him,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13818903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg\" alt=\"Folsom Prison's imposing gatehouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, Cash kicked Sherley out of the band. His marriage ended and his life spiraled out of control. He wound up living with his brother in California and worked on a feedlot near Salinas. In 1978, he killed himself. He was 42.\u003c/p>\n\u003cp>Schwoebel says her father was devastated. “It was a wakeup call that he realized he couldn’t save everybody,” she says.\u003c/p>\n\u003cp>On the day Cash heard the tragic news, the singer drew a picture in his journal of a bird flying away from a prison cell window. Keith Sherley says he was shown the journal page by a Cash scholar.\u003c/p>\n\u003cp>“And beneath it, he wrote the caption, ‘The Lord has set my soul free,'” Keith Sherley says, recalling that these are words from “Greystone Chapel,” the song that first brought the two men together. “I think John understood that released his soul, and that he was finally free from whatever demons that he had been dealing with.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>With thanks to Gene Beley and Sony for providing access to and permission to use a few seconds of footage from Cash’s as-yet-unreleased Jan 12, 1968 rehearsal tape. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>SAN FRANCISCO (AP) — Six more women have stepped forward to accuse prominent conductor Charles Dutoit of sexually assaulting them in the United States, France and Canada, including a musician who says the maestro raped her in 1988.\u003c/p>\n\u003cp>The women say they were compelled to speak out after The Associated Press published a story Dec. 21 detailing accusations from three singers and a musician who said Dutoit forcibly restrained them, groped them and kissed them without permission.\u003c/p>\n\u003cp>The 81-year-old Grammy-winning conductor emphatically denied the accusations, but eight major orchestras immediately distanced themselves from him, and two launched their own investigations.\u003c/p>\n\u003cp>Dutoit had been scheduled to conduct the Royal Philharmonic Orchestra at San Francisco’s Davies Symphony Hall on Jan. 28 and 29, but was \u003ca href=\"https://ww2.kqed.org/arts/2018/01/08/replacement-at-podium-named-after-sexual-misconduct-charges/\" rel=\"noopener\" target=\"_blank\">immediately dropped from the program\u003c/a> after the initial allegations first surfaced in December. This week, the San Francisco Symphony released a statement that Dutoit will be replaced by Thierry Fischer. \u003c/p>\n\u003cp>The new accusers said they were angered by Dutoit’s initial denial and wanted to show the scope of his sexual misconduct during his globe-trotting career. They said the Swiss-born conductor attacked them in Paris, Montreal and the United States over a four-decade period, starting in the late 1970s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dutoit had been principal conductor and artistic director of the Royal Philharmonic Orchestra in London. Hours after the AP sent Dutoit and the Royal Philharmonic detailed summaries of the new allegations, the orchestra announced Wednesday that he was leaving those posts.\u003c/p>\n\u003cp>Dutoit issued a statement saying he was “appalled and sickened” to be accused “of the heinous crime of rape.”\u003c/p>\n\u003cp>“I am shaken to the core by this bewildering and baseless charge. To this, I submit my categorical and complete denial,” he said.\u003c/p>\n\u003cp>Dutoit also has held such notable positions as music director of the Montreal Symphony Orchestra and chief conductor of the Philadelphia Orchestra.\u003c/p>\n\u003cp>The woman who accused the conductor of raping her said the assault occurred when she was working with Dutoit at an orchestra on the East Coast of the U.S. The AP does not publish the names of people who say they are victims of sexual assault without their permission so, to protect her identity, the AP also is not disclosing the instrument she plays, her orchestra or the city where she said she was attacked.\u003c/p>\n\u003cp>Three of her colleagues in the same orchestra told the AP that the woman confided in them after the encounter.\u003c/p>\n\u003cp>One of the new accusers told the AP that the Boston Symphony was aware of the famed conductor’s behavior and looked the other way. The symphony declined to answer repeated questions from AP about whether it had received prior complaints about Dutoit, a regular guest conductor since 1981.\u003c/p>\n\u003cp>The musician accusing Dutoit of rape was then 28 and auditioning for an orchestra in early 1988 while he was guest-conducting. She said they were staying at the same hotel and rode the elevator together up to their shared floor one night.\u003c/p>\n\u003cp>“As soon as I got to my room, the phone rang. It was Maestro Dutoit,” she said.\u003c/p>\n\u003cp>She had heard rumors about inappropriate behavior but said she thought nothing of it when Dutoit told her his luggage was broken and asked if she had a specific tool sometimes used to fix musical instruments. He invited her to come in when she brought it to his room, she said, first offering her a drink, which she declined. Within minutes, he forced himself on her, she said.\u003c/p>\n\u003cp>“He came closer to me and tried to kiss me, and held my head so strongly it ripped my earring out,” said the musician, now in her 50s. “He pinned my wrists to the wall and pushed me to the bed.”\u003c/p>\n\u003cp>“His pants were down in a split second and he was inside me before I could blink,” she said. She said she started crying, told him to stop and that she was married, but that it made no difference.\u003c/p>\n\u003cp>When she blurted out that she was not on birth control, he quickly pushed her out the door, she said. “‘I’ll get some condoms and I’ll get you back,'” she quoted him as telling her.\u003c/p>\n\u003cp>AP spoke with two male musicians who said she confided in them immediately after the encounter. One of them recalled she was afraid to be alone and said he served as her chaperone at subsequent concerts. Another said he urged her to report Dutoit to police but that she never did. “I was so afraid I would never be asked to play again,” she told the AP.\u003c/p>\n\u003cp>A third man who joined her orchestra after the attack said he had generally known for years that something had happened with Dutoit, but did not learn the details until a decade ago.\u003c/p>\n\u003cp>All three spoke on condition of anonymity to protect the musician’s identity and because they remain professional musicians and said they fear retribution within the industry.\u003c/p>\n\u003cp>French soprano Anne-Sophie Schmidt was 31 in May 1995 when she said Dutoit began singling her out for attention. She was singing the principal female role in Debussy’s “Pelleas and Melisande” with Dutoit conducting the Orchestre National de France in Paris.\u003c/p>\n\u003cp>Dutoit offered her rides home in his chauffeured car, then started leaving messages on her answering machine telling her she was “marvelous” and that he desired her, she said. She said he became angry when she ignored his advances and began humiliating her in front of the orchestra — a tactic mentioned by other accusers in interviews with the AP.\u003c/p>\n\u003cp>On the day of a dress rehearsal at the Theatre des Champs-Elysees, she said, she found herself in an empty hallway with the conductor.\u003c/p>\n\u003cp>“He came out of his dressing room and he jumped on me, pushed me against the wall and started to touch me everywhere, on my chest, between my legs. He forced me to kiss him. I fought back, and I pushed him away,” Schmidt, now retired from opera, said in a telephone interview from southern France.\u003c/p>\n\u003cp>Shortly after the opera’s run ended, she said, Dutoit dropped her from future recitals and concerts around the world, she said.\u003c/p>\n\u003cp>Two of Schmidt’s friends told the AP she described the experience to them several years ago.\u003c/p>\n\u003cp>One, a Paris-based lawyer, said Schmidt told him Dutoit had “wanted to sleep with her and she refused, and he canceled all their concerts.” The attorney, who works in the music industry, asked not to be identified because of fear of retribution.\u003c/p>\n\u003cp>The other, Suzanne Delorme, recalled Schmidt saying that Dutoit had harassed her, humiliated her during rehearsals and at one point “cornered her and touched her all over her body.”\u003c/p>\n\u003cp>“When I read what the other women were saying, how he cornered them against a wall, it was exactly what he did to me,” Schmidt said.\u003c/p>\n\u003cp>Musician Mary Lou Basaraba was in her early 20s and working as a journalist in the winter of 1977-78 when the Montreal Symphony Orchestra asked her to interview Dutoit for an in-house publication, she said. She said she was told Dutoit had specifically requested her for the interview, to be held at his apartment.\u003c/p>\n\u003cp>Within minutes of her arrival, she said, Dutoit forced himself on her, kissing her and placing his hands on her breasts and crotch. “It was so uninvited, it was so crass,” said Basaraba, now the chorus master for the California Philharmonic and Golden State Pops Orchestra.\u003c/p>\n\u003cp>She pushed him away, she said, insisting she was there to work. He later walked her to a cab, where she remembers him saying: “‘I find you very charming. I’d like you to be the woman in my life when I’m in Montreal.'”\u003c/p>\n\u003cp>Basaraba’s ex-husband, conductor Clyde Mitchell, who played French horn in Montreal under Dutoit, said she told him about the maestro “attacking her on the sofa in his apartment.” A friend, Nancy Newman, also said Basaraba told her years ago that Dutoit “chased her around the room” and “asked her to be his mistress.”\u003c/p>\n\u003cp>Years later, in 1991, when Dutoit was conducting at the LA Opera, Basaraba said, he called her twice on the day of a performance and asked her to come to his hotel room after the show. She did not go, she said.\u003c/p>\n\u003cp>Canadian soprano Pauline Vaillancourt told the AP that Dutoit tried to force himself on her in March 1981 after inviting her to dinner “to discuss work” after her performance as a soloist with the Montreal Symphony.\u003c/p>\n\u003cp>As he drove her home, she said, he pulled the car into a dark spot, groped her breasts and legs and asked her to come back to his room. She told the AP she pushed him away and insisted he drive her home.\u003c/p>\n\u003cp>“When I opened the car door to return home, he told me, ‘I need this after a concert. I need a woman to come home with me,'” she said. “He said it like he was angry that I had taken away something he needed.”\u003c/p>\n\u003cp>Vaillancourt’s brother said his sister told him of the incident the next day. Dutoit had “touched her breast and made it clear that if she wanted to pursue her career it would help if she was more cooperative with him, which she declined,” said Jean-Eudes Vaillancourt, a pianist, conductor and classical music professor at the University of Montreal.\u003c/p>\n\u003cp>In the light of the growing accusations against Dutoit, Pauline Vaillancourt, now 72, said she wonders: “Does that mean he did this to someone after each concert?”\u003c/p>\n\u003cp>Pianist Jenny Q. Chai, now 34, said she encountered Dutoit by chance after a Philadelphia Orchestra concert in the early 2000s. Chai had gone backstage hoping to meet acclaimed pianist Martha Argerich, one of Dutoit’s ex-wives, but instead was greeted by the conductor, who she said spoke with her, then leaned forward, kissing her cheeks and lips and trying to put his tongue in her mouth while touching her body.\u003c/p>\n\u003cp>And Fiona Allan, now 50, said Dutoit pushed her against the wall and put his hand on her breast when she delivered documents to his dressing room while interning in 1997 at the Tanglewood festival, the summer home of the Boston Symphony Orchestra.\u003c/p>\n\u003cp>Allan, now chief executive of the Birmingham Hippodrome Theatre in England, said she fled the room and encountered Ray Wellbaum, the Boston Symphony’s then-orchestra manager, who told her that officials had received complaints about Dutoit from other women and warned her not go into his room alone.\u003c/p>\n\u003cp>“I said, ‘It’s too late. I’ve already been in there,'” Allan recalled.\u003c/p>\n\u003cp>Both women’s accounts were first reported in the classical music blog Slipped Disc.\u003c/p>\n\u003cp>A friend who also is a pianist said he recalls Chai visiting him in 2000 or 2001 and telling him she had attempted to see Argerich backstage after a concert and that Dutoit “tried to kiss her on the lips with his tongue sticking out in front of everyone.” The friend asked not to be identified because he still works in the industry.\u003c/p>\n\u003cp>Chris Stafford, chief executive at the Curve theater in Leicester, England, said Allan told him in 2015 that Dutoit had groped her in his dressing room while at Tanglewood.\u003c/p>\n\u003cp>The Boston Symphony was the first orchestra to announce that it was ending its relationship with Dutoit and has said it is hiring a law firm to investigate Allan’s allegations.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The symphony said Wellbaum retired in 2016. He did not return a message left at his home seeking comment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SAN FRANCISCO (AP) — Six more women have stepped forward to accuse prominent conductor Charles Dutoit of sexually assaulting them in the United States, France and Canada, including a musician who says the maestro raped her in 1988.\u003c/p>\n\u003cp>The women say they were compelled to speak out after The Associated Press published a story Dec. 21 detailing accusations from three singers and a musician who said Dutoit forcibly restrained them, groped them and kissed them without permission.\u003c/p>\n\u003cp>The 81-year-old Grammy-winning conductor emphatically denied the accusations, but eight major orchestras immediately distanced themselves from him, and two launched their own investigations.\u003c/p>\n\u003cp>Dutoit had been scheduled to conduct the Royal Philharmonic Orchestra at San Francisco’s Davies Symphony Hall on Jan. 28 and 29, but was \u003ca href=\"https://ww2.kqed.org/arts/2018/01/08/replacement-at-podium-named-after-sexual-misconduct-charges/\" rel=\"noopener\" target=\"_blank\">immediately dropped from the program\u003c/a> after the initial allegations first surfaced in December. This week, the San Francisco Symphony released a statement that Dutoit will be replaced by Thierry Fischer. \u003c/p>\n\u003cp>The new accusers said they were angered by Dutoit’s initial denial and wanted to show the scope of his sexual misconduct during his globe-trotting career. They said the Swiss-born conductor attacked them in Paris, Montreal and the United States over a four-decade period, starting in the late 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dutoit had been principal conductor and artistic director of the Royal Philharmonic Orchestra in London. Hours after the AP sent Dutoit and the Royal Philharmonic detailed summaries of the new allegations, the orchestra announced Wednesday that he was leaving those posts.\u003c/p>\n\u003cp>Dutoit issued a statement saying he was “appalled and sickened” to be accused “of the heinous crime of rape.”\u003c/p>\n\u003cp>“I am shaken to the core by this bewildering and baseless charge. To this, I submit my categorical and complete denial,” he said.\u003c/p>\n\u003cp>Dutoit also has held such notable positions as music director of the Montreal Symphony Orchestra and chief conductor of the Philadelphia Orchestra.\u003c/p>\n\u003cp>The woman who accused the conductor of raping her said the assault occurred when she was working with Dutoit at an orchestra on the East Coast of the U.S. The AP does not publish the names of people who say they are victims of sexual assault without their permission so, to protect her identity, the AP also is not disclosing the instrument she plays, her orchestra or the city where she said she was attacked.\u003c/p>\n\u003cp>Three of her colleagues in the same orchestra told the AP that the woman confided in them after the encounter.\u003c/p>\n\u003cp>One of the new accusers told the AP that the Boston Symphony was aware of the famed conductor’s behavior and looked the other way. The symphony declined to answer repeated questions from AP about whether it had received prior complaints about Dutoit, a regular guest conductor since 1981.\u003c/p>\n\u003cp>The musician accusing Dutoit of rape was then 28 and auditioning for an orchestra in early 1988 while he was guest-conducting. She said they were staying at the same hotel and rode the elevator together up to their shared floor one night.\u003c/p>\n\u003cp>“As soon as I got to my room, the phone rang. It was Maestro Dutoit,” she said.\u003c/p>\n\u003cp>She had heard rumors about inappropriate behavior but said she thought nothing of it when Dutoit told her his luggage was broken and asked if she had a specific tool sometimes used to fix musical instruments. He invited her to come in when she brought it to his room, she said, first offering her a drink, which she declined. Within minutes, he forced himself on her, she said.\u003c/p>\n\u003cp>“He came closer to me and tried to kiss me, and held my head so strongly it ripped my earring out,” said the musician, now in her 50s. “He pinned my wrists to the wall and pushed me to the bed.”\u003c/p>\n\u003cp>“His pants were down in a split second and he was inside me before I could blink,” she said. She said she started crying, told him to stop and that she was married, but that it made no difference.\u003c/p>\n\u003cp>When she blurted out that she was not on birth control, he quickly pushed her out the door, she said. “‘I’ll get some condoms and I’ll get you back,'” she quoted him as telling her.\u003c/p>\n\u003cp>AP spoke with two male musicians who said she confided in them immediately after the encounter. One of them recalled she was afraid to be alone and said he served as her chaperone at subsequent concerts. Another said he urged her to report Dutoit to police but that she never did. “I was so afraid I would never be asked to play again,” she told the AP.\u003c/p>\n\u003cp>A third man who joined her orchestra after the attack said he had generally known for years that something had happened with Dutoit, but did not learn the details until a decade ago.\u003c/p>\n\u003cp>All three spoke on condition of anonymity to protect the musician’s identity and because they remain professional musicians and said they fear retribution within the industry.\u003c/p>\n\u003cp>French soprano Anne-Sophie Schmidt was 31 in May 1995 when she said Dutoit began singling her out for attention. She was singing the principal female role in Debussy’s “Pelleas and Melisande” with Dutoit conducting the Orchestre National de France in Paris.\u003c/p>\n\u003cp>Dutoit offered her rides home in his chauffeured car, then started leaving messages on her answering machine telling her she was “marvelous” and that he desired her, she said. She said he became angry when she ignored his advances and began humiliating her in front of the orchestra — a tactic mentioned by other accusers in interviews with the AP.\u003c/p>\n\u003cp>On the day of a dress rehearsal at the Theatre des Champs-Elysees, she said, she found herself in an empty hallway with the conductor.\u003c/p>\n\u003cp>“He came out of his dressing room and he jumped on me, pushed me against the wall and started to touch me everywhere, on my chest, between my legs. He forced me to kiss him. I fought back, and I pushed him away,” Schmidt, now retired from opera, said in a telephone interview from southern France.\u003c/p>\n\u003cp>Shortly after the opera’s run ended, she said, Dutoit dropped her from future recitals and concerts around the world, she said.\u003c/p>\n\u003cp>Two of Schmidt’s friends told the AP she described the experience to them several years ago.\u003c/p>\n\u003cp>One, a Paris-based lawyer, said Schmidt told him Dutoit had “wanted to sleep with her and she refused, and he canceled all their concerts.” The attorney, who works in the music industry, asked not to be identified because of fear of retribution.\u003c/p>\n\u003cp>The other, Suzanne Delorme, recalled Schmidt saying that Dutoit had harassed her, humiliated her during rehearsals and at one point “cornered her and touched her all over her body.”\u003c/p>\n\u003cp>“When I read what the other women were saying, how he cornered them against a wall, it was exactly what he did to me,” Schmidt said.\u003c/p>\n\u003cp>Musician Mary Lou Basaraba was in her early 20s and working as a journalist in the winter of 1977-78 when the Montreal Symphony Orchestra asked her to interview Dutoit for an in-house publication, she said. She said she was told Dutoit had specifically requested her for the interview, to be held at his apartment.\u003c/p>\n\u003cp>Within minutes of her arrival, she said, Dutoit forced himself on her, kissing her and placing his hands on her breasts and crotch. “It was so uninvited, it was so crass,” said Basaraba, now the chorus master for the California Philharmonic and Golden State Pops Orchestra.\u003c/p>\n\u003cp>She pushed him away, she said, insisting she was there to work. He later walked her to a cab, where she remembers him saying: “‘I find you very charming. I’d like you to be the woman in my life when I’m in Montreal.'”\u003c/p>\n\u003cp>Basaraba’s ex-husband, conductor Clyde Mitchell, who played French horn in Montreal under Dutoit, said she told him about the maestro “attacking her on the sofa in his apartment.” A friend, Nancy Newman, also said Basaraba told her years ago that Dutoit “chased her around the room” and “asked her to be his mistress.”\u003c/p>\n\u003cp>Years later, in 1991, when Dutoit was conducting at the LA Opera, Basaraba said, he called her twice on the day of a performance and asked her to come to his hotel room after the show. She did not go, she said.\u003c/p>\n\u003cp>Canadian soprano Pauline Vaillancourt told the AP that Dutoit tried to force himself on her in March 1981 after inviting her to dinner “to discuss work” after her performance as a soloist with the Montreal Symphony.\u003c/p>\n\u003cp>As he drove her home, she said, he pulled the car into a dark spot, groped her breasts and legs and asked her to come back to his room. She told the AP she pushed him away and insisted he drive her home.\u003c/p>\n\u003cp>“When I opened the car door to return home, he told me, ‘I need this after a concert. I need a woman to come home with me,'” she said. “He said it like he was angry that I had taken away something he needed.”\u003c/p>\n\u003cp>Vaillancourt’s brother said his sister told him of the incident the next day. Dutoit had “touched her breast and made it clear that if she wanted to pursue her career it would help if she was more cooperative with him, which she declined,” said Jean-Eudes Vaillancourt, a pianist, conductor and classical music professor at the University of Montreal.\u003c/p>\n\u003cp>In the light of the growing accusations against Dutoit, Pauline Vaillancourt, now 72, said she wonders: “Does that mean he did this to someone after each concert?”\u003c/p>\n\u003cp>Pianist Jenny Q. Chai, now 34, said she encountered Dutoit by chance after a Philadelphia Orchestra concert in the early 2000s. Chai had gone backstage hoping to meet acclaimed pianist Martha Argerich, one of Dutoit’s ex-wives, but instead was greeted by the conductor, who she said spoke with her, then leaned forward, kissing her cheeks and lips and trying to put his tongue in her mouth while touching her body.\u003c/p>\n\u003cp>And Fiona Allan, now 50, said Dutoit pushed her against the wall and put his hand on her breast when she delivered documents to his dressing room while interning in 1997 at the Tanglewood festival, the summer home of the Boston Symphony Orchestra.\u003c/p>\n\u003cp>Allan, now chief executive of the Birmingham Hippodrome Theatre in England, said she fled the room and encountered Ray Wellbaum, the Boston Symphony’s then-orchestra manager, who told her that officials had received complaints about Dutoit from other women and warned her not go into his room alone.\u003c/p>\n\u003cp>“I said, ‘It’s too late. I’ve already been in there,'” Allan recalled.\u003c/p>\n\u003cp>Both women’s accounts were first reported in the classical music blog Slipped Disc.\u003c/p>\n\u003cp>A friend who also is a pianist said he recalls Chai visiting him in 2000 or 2001 and telling him she had attempted to see Argerich backstage after a concert and that Dutoit “tried to kiss her on the lips with his tongue sticking out in front of everyone.” The friend asked not to be identified because he still works in the industry.\u003c/p>\n\u003cp>Chris Stafford, chief executive at the Curve theater in Leicester, England, said Allan told him in 2015 that Dutoit had groped her in his dressing room while at Tanglewood.\u003c/p>\n\u003cp>The Boston Symphony was the first orchestra to announce that it was ending its relationship with Dutoit and has said it is hiring a law firm to investigate Allan’s allegations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The symphony said Wellbaum retired in 2016. He did not return a message left at his home seeking comment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Opera Parallèle, the little San Francisco company, is presenting the world premiere of a new opera inspired by the life of abolitionist Harriet Tubman.\u003c/p>\n\u003cp>It’s an opera for kids, just 45 minutes long, created with eighth-grade students from San Francisco’s Rooftop Alternative School. But adults might find the music and talented cast equally compelling.\u003c/p>\n\u003cp>\u003cem>Harriet’s Spirit\u003c/em> is about a modern-day middle schooler who learns to stand up to bullies with guidance from the ghost of Tubman. The music is by San Francisco composer, bassist and bandleader Marcus Shelby, with jazz (and now opera) singer Tiffany Austin playing the part of Tubman, and the full-voiced 23-year-old Christabel Nunoo as eighth grader Modesty.\u003c/p>\n\u003cfigure id=\"attachment_13818878\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg\" alt=\"Jazz bassist Marcus Shelby wrote the score for 'Harriet's Spirit,' a new opera for kids and adults\" width=\"630\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-520x301.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Marcus Shelby wrote the score for ‘Harriet’s Spirit,’ a new opera for kids and adults. \u003ccite>(Photo: Courtesy of Marcus Shelby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a break at a recent rehearsal, I asked Austin how she approaches playing the iconic pre-Civil War abolitionist and Union spy. “I think about my grandmother,” she said. “My grandmother came up in rural Louisiana. She suffered a lot going through segregation and the violence and discrimination that was happening there. But when my grandmother had her children, and her grandchildren, she had to balance pushing them along with being soft. So that’s the spirit I try to invoke when I deliver these songs. There’s a weight, but also a gentleness to it.”\u003c/p>\n\u003cp>As for the music, “I make sure there’s a grit and some darkness in there with the light,” Austin said.\u003c/p>\n\u003cfigure id=\"attachment_13818876\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg\" alt=\"Director Erin Neff works with 8th graders from Rooftop Alternative School on a scene from the new opera 'Harriet's Spirit'\" width=\"567\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg 567w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-520x319.jpg 520w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Director Erin Neff works with 8th graders from Rooftop Alternative School work on a scene from the new opera ‘Harriet’s Spirit.’ \u003ccite>(Photo: Courtesy of Opera Parallèle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The libretto is by Roma Olvera, Opera Parallèle’s education director, who said that in writing for Tubman’s voice, she tried to capture her courage — noting how after Tubman escaped to freedom, she returned to the south to free many others. “She said ‘I was free and they should be free,’ Olvera said, quoting Tubman. “So it’s up to us,” Olvera said, “and our inner spirit to free ourselves, and seek people who can help us do that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are only three performances of the opera this time around, on Jan. 18 and 20, but Olvera said the company hopes to expand and re-stage it again. Details \u003ca href=\"https://operaparallele.org/harriets-spirit/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera Parallèle, the little San Francisco company, is presenting the world premiere of a new opera inspired by the life of abolitionist Harriet Tubman.\u003c/p>\n\u003cp>It’s an opera for kids, just 45 minutes long, created with eighth-grade students from San Francisco’s Rooftop Alternative School. But adults might find the music and talented cast equally compelling.\u003c/p>\n\u003cp>\u003cem>Harriet’s Spirit\u003c/em> is about a modern-day middle schooler who learns to stand up to bullies with guidance from the ghost of Tubman. The music is by San Francisco composer, bassist and bandleader Marcus Shelby, with jazz (and now opera) singer Tiffany Austin playing the part of Tubman, and the full-voiced 23-year-old Christabel Nunoo as eighth grader Modesty.\u003c/p>\n\u003cfigure id=\"attachment_13818878\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg\" alt=\"Jazz bassist Marcus Shelby wrote the score for 'Harriet's Spirit,' a new opera for kids and adults\" width=\"630\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-520x301.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Marcus Shelby wrote the score for ‘Harriet’s Spirit,’ a new opera for kids and adults. \u003ccite>(Photo: Courtesy of Marcus Shelby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a break at a recent rehearsal, I asked Austin how she approaches playing the iconic pre-Civil War abolitionist and Union spy. “I think about my grandmother,” she said. “My grandmother came up in rural Louisiana. She suffered a lot going through segregation and the violence and discrimination that was happening there. But when my grandmother had her children, and her grandchildren, she had to balance pushing them along with being soft. So that’s the spirit I try to invoke when I deliver these songs. There’s a weight, but also a gentleness to it.”\u003c/p>\n\u003cp>As for the music, “I make sure there’s a grit and some darkness in there with the light,” Austin said.\u003c/p>\n\u003cfigure id=\"attachment_13818876\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg\" alt=\"Director Erin Neff works with 8th graders from Rooftop Alternative School on a scene from the new opera 'Harriet's Spirit'\" width=\"567\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg 567w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-520x319.jpg 520w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Director Erin Neff works with 8th graders from Rooftop Alternative School work on a scene from the new opera ‘Harriet’s Spirit.’ \u003ccite>(Photo: Courtesy of Opera Parallèle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The libretto is by Roma Olvera, Opera Parallèle’s education director, who said that in writing for Tubman’s voice, she tried to capture her courage — noting how after Tubman escaped to freedom, she returned to the south to free many others. “She said ‘I was free and they should be free,’ Olvera said, quoting Tubman. “So it’s up to us,” Olvera said, “and our inner spirit to free ourselves, and seek people who can help us do that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are only three performances of the opera this time around, on Jan. 18 and 20, but Olvera said the company hopes to expand and re-stage it again. Details \u003ca href=\"https://operaparallele.org/harriets-spirit/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last year, for its 50th anniversary, the Hewlett Foundation announced an ambitious endeavor: \u003ca href=\"https://www.hewlett.org/50commissions/\" rel=\"noopener\" target=\"_blank\">The Hewlett 50 Arts Commissions\u003c/a>, a five-year, $8 million initiative to fund 50 exceptional works of art in various disciplines through 2021. Each year of the initiative is dedicated to a different discipline (last year’s was music) and this year, the foundation is offering 10 separate grants of $150,000 each for projects in theater, musical theater, and spoken word. \u003c/p>\n\u003cp>The catch is that individual artists may not apply; instead, the \u003ca href=\"https://www.hewlett.org/apply-hewlett-50-arts-commission/\" rel=\"noopener\" target=\"_blank\">application\u003c/a> is open to nonprofits in eleven Bay Area counties (Alameda, Contra Costa, Marin, Monterey, Napa, San Francisco, San Mateo, Santa Clara, Santa Cruz, Solano, and Sonoma), who then partner with artists to sponsor their specific projects. The nonprofit — which doesn’t necessarily have to be an arts organization — is responsible for managing the project, commissioning the artist, writing the letter of inquiry required to start the application process, and developing the full proposal if they make it to the second round. The deadline to submit a letter of inquiry is April 20. On Jan. 30, there’s a \u003ca href=\"https://register.gotowebinar.com/register/1880784296410115329\" rel=\"noopener\" target=\"_blank\">webinar\u003c/a> for potential applicants. \u003c/p>\n\u003cp>If 2017’s recipients show us anything, it’s that the Hewlett Foundation prizes works that engage with the social issues of our times. Last year’s \u003ca href=\"https://ww2.kqed.org/arts/2017/11/14/bay-area-artists-receiving-millions-from-two-national-foundations/\" rel=\"noopener\" target=\"_blank\">10 grant recipients\u003c/a> included Terence Blanchard, whom the Kronos Quartet commissioned for a piece on race relations in America; DJ Spooky, who worked with the Internet Archive to create an “acoustic portrait of the internet” incorporating chamber music and digital art; and Huang Ruo, whom the Del Sol String Quartet commissioned to create a bilingual oratorio inspired by the poetry of immigrants detained under the Chinese Exclusion Act. \u003c/p>\n\u003cp>And if you’re not a playwright, director, or spoken word artist? Fear not. The 2019 grant is for dance and multi-discipline performance art; 2020 is slated for folk and traditional arts; and 2021 is dedicated to film and media. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, for its 50th anniversary, the Hewlett Foundation announced an ambitious endeavor: \u003ca href=\"https://www.hewlett.org/50commissions/\" rel=\"noopener\" target=\"_blank\">The Hewlett 50 Arts Commissions\u003c/a>, a five-year, $8 million initiative to fund 50 exceptional works of art in various disciplines through 2021. Each year of the initiative is dedicated to a different discipline (last year’s was music) and this year, the foundation is offering 10 separate grants of $150,000 each for projects in theater, musical theater, and spoken word. \u003c/p>\n\u003cp>The catch is that individual artists may not apply; instead, the \u003ca href=\"https://www.hewlett.org/apply-hewlett-50-arts-commission/\" rel=\"noopener\" target=\"_blank\">application\u003c/a> is open to nonprofits in eleven Bay Area counties (Alameda, Contra Costa, Marin, Monterey, Napa, San Francisco, San Mateo, Santa Clara, Santa Cruz, Solano, and Sonoma), who then partner with artists to sponsor their specific projects. The nonprofit — which doesn’t necessarily have to be an arts organization — is responsible for managing the project, commissioning the artist, writing the letter of inquiry required to start the application process, and developing the full proposal if they make it to the second round. The deadline to submit a letter of inquiry is April 20. On Jan. 30, there’s a \u003ca href=\"https://register.gotowebinar.com/register/1880784296410115329\" rel=\"noopener\" target=\"_blank\">webinar\u003c/a> for potential applicants. \u003c/p>\n\u003cp>If 2017’s recipients show us anything, it’s that the Hewlett Foundation prizes works that engage with the social issues of our times. Last year’s \u003ca href=\"https://ww2.kqed.org/arts/2017/11/14/bay-area-artists-receiving-millions-from-two-national-foundations/\" rel=\"noopener\" target=\"_blank\">10 grant recipients\u003c/a> included Terence Blanchard, whom the Kronos Quartet commissioned for a piece on race relations in America; DJ Spooky, who worked with the Internet Archive to create an “acoustic portrait of the internet” incorporating chamber music and digital art; and Huang Ruo, whom the Del Sol String Quartet commissioned to create a bilingual oratorio inspired by the poetry of immigrants detained under the Chinese Exclusion Act. \u003c/p>\n\u003cp>And if you’re not a playwright, director, or spoken word artist? Fear not. The 2019 grant is for dance and multi-discipline performance art; 2020 is slated for folk and traditional arts; and 2021 is dedicated to film and media. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "BottleRock 2018 Lineup: Bruno Mars, the Killers, Muse, Chainsmokers, More",
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"content": "\u003cp>The lineup for 2018’s BottleRock festival in Napa is here, with Bruno Mars, the Killers and Muse as the three-day festival’s headliners. \u003c/p>\n\u003cp>Other acts at BottleRock this year include the Chainsmokers, Snoop Dogg, Billy Idol, Halsey, Incubus, Thievery Corporation, Bleachers, E-40, Earth Wind & Fire, Bomba Estereo, Tank & the Bangas, Mike D and many more, below. \u003c/p>\n\u003cp>[contextly_sidebar id=”yzlqcJkKnqCCNTmQbX9k5eLCyzScubpl”]\u003c/p>\n\u003cp>Bruno Mars is the clear big-money “get” here, and even though daily schedules haven’t been announced, it’s a safe guess he’ll be Saturday’s headliner, usually reserved for the hugest draw.\u003c/p>\n\u003cp>BottleRock runs May 25–27 at the Napa Valley Expo in Napa. In recent years, it’s grown into its own as a decidedly luxe wine-country festival, vying for a more upscale crowd than other outdoor festivals with Chardonnay tastings and culinary demonstrations. Three-day passes start at $349 and go all the way up through various levels of VIP-ness to $3,900 for a “Platinum Pass.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Befitting of Napa, the price point hasn’t kept people away: last year’s sold-out attendance over the three-day weekend was estimated at 120,000. \u003c/p>\n\u003cp>The full lineup is below. Three-day passes go on sale Tuesday, Jan. 9, at 10am. \u003ca href=\"http://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>Bruno Mars\u003cbr>\nThe Killers\u003cbr>\nMuse\u003cbr>\nThe Chainsmokers\u003cbr>\nHalsey\u003cbr>\nSnoop Dogg\u003cbr>\nIncubus\u003cbr>\nEarth, Wind & Fire\u003cbr>\nThe Head and the Heart\u003cbr>\nBilly Idol\u003cbr>\nThievery Corporation\u003cbr>\nPhantogram\u003cbr>\nThe Revivalists\u003cbr>\nBleachers\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nMike D (DJ Set)\u003cbr>\nE-40\u003cbr>\nSt. Paul & The Broken Bones\u003cbr>\nOh Wonder\u003cbr>\nTrombone Shorty & Orleans Avenue\u003cbr>\nSOJA\u003cbr>\nShakey Graves\u003cbr>\nLake Street Dive\u003cbr>\nNatalia Lafourcade\u003cbr>\nLANY\u003cbr>\nManchester Orchestra\u003cbr>\nNahko and Medicine for the People\u003cbr>\nBomba Estéreo\u003cbr>\nThe Record Company\u003cbr>\nAlice Merton\u003cbr>\nThe Struts\u003cbr>\nNew Politics\u003cbr>\nAllen Stone\u003cbr>\nTank and The Bangas\u003cbr>\nWatsky\u003cbr>\nThe White Panda\u003cbr>\nCOIN\u003cbr>\nJacob Banks\u003cbr>\nJ. Roddy Walston And The Business\u003cbr>\nThe Motet\u003cbr>\nNoMBe\u003cbr>\nMondo Cozmo\u003cbr>\nMISSIO\u003cbr>\nLukas Nelson & Promise of the Real\u003cbr>\nAllan Rayman\u003cbr>\nPokey LaFarge\u003cbr>\nWelshly Arms\u003cbr>\nJukebox the Ghost\u003cbr>\nDurand Jones & The Indications\u003cbr>\nDhani Harrison, The Districts\u003cbr>\nMAGIC GIANT\u003cbr>\nAmy Shark\u003cbr>\nGhost of Paul Revere\u003cbr>\nAlex Lahey\u003cbr>\nflor\u003cbr>\nLiz Huett\u003cbr>\nMoonalice\u003cbr>\nCaitlyn Smith\u003cbr>\nThe Aces\u003cbr>\nLow Cut Connie\u003cbr>\nMarty O’Reilly & The Old Soul Orchestra\u003cbr>\nThe Night Game\u003cbr>\nMt. Joy\u003cbr>\nayokay\u003cbr>\nThe Wrecks\u003cbr>\nHundred Handed\u003cbr>\nDan Luke and The Raid\u003cbr>\nBilly Raffoul\u003cbr>\nDean Lewis\u003cbr>\nMatt Maeson\u003cbr>\nJon and Roy\u003cbr>\nPony Bradshaw\u003cbr>\nThe Brevet\u003cbr>\nHamish Anderson\u003cbr>\nEthan Tucker\u003cbr>\nRIVVRS\u003cbr>\nThe Alive\u003cbr>\nDavid Luning\u003cbr>\nThe Knitts\u003cbr>\nDani Bell & The Tarantist\u003cbr>\nTommy Odetto\u003cbr>\nSanho The Indian\u003cbr>\nAnchor + Bell\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Full lineup includes Snoop Dogg, Bleachers, E-40, Billy Idol, Halsey, Bomba Estereo, Tank & the Bangas, Mike D, Thievery Corporation and many more.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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