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He was given a job, and then he had to scramble to write more material for a half-hour show.\u003c/p>\n\u003cp>“I was always one of those life-of-the-party boys,” he admitted, “though I never stooped to wearing women’s hats or lampshades. I was always making people laugh, in school and later in life.”\u003c/p>\n\u003cp>Berman’s success in Chicago led to a booking in Las Vegas. He bombed. The gamblers didn’t laugh nor did they talk. Accustomed to slam-bang comics out of vaudeville and burlesque, they listened in amazement to the guy sitting on a stool and using big words with a routine that often consisted of one side of a make-believe phone call.\u003c/p>\n\u003cp>He continued on the saloon circuit, honing his craft and deciding on which direction to go. He didn’t fit any category. He wasn’t a joke teller nor a “sick” comedian. He figured he was a “humanist humorist.”\u003c/p>\n\u003cp>Berman made the first of many appearances on \u003cem>The Ed Sullivan Show\u003c/em> in 1959. 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His outburst, edited to make him appear temperamental, was included in the telecast.\u003c/p>\n\u003cp>“Once you’re known as being difficult, it becomes too hard to deal with management and even fellow artists,” he remarked in 1986. The bookings fell off, and Berman returned to acting, with little luck. He and his wife, Sarah, were forced to file for bankruptcy, and he began a long struggle to pay off his taxes and creditors.\u003c/p>\n\u003cp>He found work in television series such as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rawhide\u003c/em> and \u003cem>Peter Gunn\u003c/em> and occasional movies including \u003cem>Divorce American Style\u003c/em>. He became active in regional theater and also worked his old routines before college and lecture audiences.\u003c/p>\n\u003cp>For more than 20 years he taught comedy at the University of Southern California.\u003c/p>\n\u003cp>In recent years, he landed guest roles on series including \u003cem>The King of Queens\u003c/em>,\u003cem> Boston Legal\u003c/em> and \u003cem>CSI: NY\u003c/em>, and appeared in the film \u003cem>Meet the Fockers\u003c/em>.\u003c/p>\n\u003cp>He retired from performing in 2014 after being diagnosed with Alzheimer’s disease.\u003c/p>\n\u003cp>Sheldon Leonard Berman was born in Chicago and attended public schools. After training as an actor, he joined an improvisational company in Chicago, Compass Players, the beginning of the famed Second City. Watching his fellow performers, Mike Nichols and Elaine May, Berman said in 2000, “I learned more in two weeks than I did in four years at Goodman.”\u003c/p>\n\u003cp>He married in 1947, and he credited Sarah with helping him to survive through his jobless period while trying to be a comedian, the bankruptcy, the rebuilding of his career and the loss of their son, Joshua. They also had a daughter, Rachel, who, along with his wife, survives him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Berman said of his marriage: “The love we have and the way it has grown, that’s what I’d like to be remembered for.”\u003cbr>\n___\u003cbr>\nThe late Associated Press entertainer writer Bob Thomas contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Shelley Berman, who won gold records and appeared on top television shows in the 1950s and 1960s delivering wry monologues about the annoyances of everyday life, has died. He was 92.\u003c/p>\n\u003cp>Berman died Friday at his home in Bell Canyon, California, from complications from Alzheimer’s disease, according to spokesman Glenn Schwartz.\u003c/p>\n\u003cp>Berman was a pioneer of a new brand of comedy that could evoke laughter from such matters as air travel discomforts and small children who answer the telephone. He helped pave the way for Bob Newhart, Woody Allen, Jerry Seinfeld and other standup comedians who fashioned their routines around the follies and frustrations of modern living.\u003c/p>\n\u003cp>Late in his career, he played Nat David, father of Larry David, on HBO’s \u003cem>Curb Your Enthusiasm\u003c/em>. With dialogue improvised by its cast, the comedy series gave Berman the opportunity to return to his improv roots and introduced him to a new generation of TV viewers.\u003c/p>\n\u003cp>“I’m not a standup comedian,” Berman often insisted. “I work on a stool.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Comedy was not a childhood ambition for him. He trained as an actor, with the Goodman School of Drama in his native Chicago and with the prestigious actress-teacher Uta Hagen in New York.\u003c/p>\n\u003cp>“I had dreams of being an actor,” he said in a 1960 interview. “For 10 years I tried, picking up small jobs in summer stock and TV. I had a hard time of it.”\u003c/p>\n\u003cp>As a last resort, he put together a 20-minute routine and auditioned at the Chicago nightclub Mister Kelly’s. He was given a job, and then he had to scramble to write more material for a half-hour show.\u003c/p>\n\u003cp>“I was always one of those life-of-the-party boys,” he admitted, “though I never stooped to wearing women’s hats or lampshades. I was always making people laugh, in school and later in life.”\u003c/p>\n\u003cp>Berman’s success in Chicago led to a booking in Las Vegas. He bombed. The gamblers didn’t laugh nor did they talk. Accustomed to slam-bang comics out of vaudeville and burlesque, they listened in amazement to the guy sitting on a stool and using big words with a routine that often consisted of one side of a make-believe phone call.\u003c/p>\n\u003cp>He continued on the saloon circuit, honing his craft and deciding on which direction to go. He didn’t fit any category. He wasn’t a joke teller nor a “sick” comedian. He figured he was a “humanist humorist.”\u003c/p>\n\u003cp>Berman made the first of many appearances on \u003cem>The Ed Sullivan Show\u003c/em> in 1959. That year he issued his first album, \u003cem>Inside Shelley Berman\u003c/em>. It won a gold record and received the first-ever Grammy Award for the spoken word. Two more albums achieved gold status.\u003c/p>\n\u003cp>Along with his busy schedule in nightclubs and auditoriums, he fulfilled his first ambition to be an actor. He appeared in a Broadway play, \u003cem>The Boys Against the Girls\u003c/em>, in 1959 and a musical, \u003cem>A Family Affair\u003c/em>, in 1962. His film debut came in 1964 with the adaptation of Gore Vidal’s hit political stage drama \u003cem>The Best Man\u003c/em>, starring Henry Fonda and Cliff Robertson.\u003c/p>\n\u003cp>Berman’s comedy career stalled in 1963. He was performing his act before an audience for a documentary-style NBC show, \u003cem>Comedian Backstage\u003c/em>, when a telephone ringing interrupted him; it was the second night it happened. He stormed backstage and ranted at everyone in sight. His outburst, edited to make him appear temperamental, was included in the telecast.\u003c/p>\n\u003cp>“Once you’re known as being difficult, it becomes too hard to deal with management and even fellow artists,” he remarked in 1986. The bookings fell off, and Berman returned to acting, with little luck. He and his wife, Sarah, were forced to file for bankruptcy, and he began a long struggle to pay off his taxes and creditors.\u003c/p>\n\u003cp>He found work in television series such as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rawhide\u003c/em> and \u003cem>Peter Gunn\u003c/em> and occasional movies including \u003cem>Divorce American Style\u003c/em>. He became active in regional theater and also worked his old routines before college and lecture audiences.\u003c/p>\n\u003cp>For more than 20 years he taught comedy at the University of Southern California.\u003c/p>\n\u003cp>In recent years, he landed guest roles on series including \u003cem>The King of Queens\u003c/em>,\u003cem> Boston Legal\u003c/em> and \u003cem>CSI: NY\u003c/em>, and appeared in the film \u003cem>Meet the Fockers\u003c/em>.\u003c/p>\n\u003cp>He retired from performing in 2014 after being diagnosed with Alzheimer’s disease.\u003c/p>\n\u003cp>Sheldon Leonard Berman was born in Chicago and attended public schools. After training as an actor, he joined an improvisational company in Chicago, Compass Players, the beginning of the famed Second City. Watching his fellow performers, Mike Nichols and Elaine May, Berman said in 2000, “I learned more in two weeks than I did in four years at Goodman.”\u003c/p>\n\u003cp>He married in 1947, and he credited Sarah with helping him to survive through his jobless period while trying to be a comedian, the bankruptcy, the rebuilding of his career and the loss of their son, Joshua. They also had a daughter, Rachel, who, along with his wife, survives him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Berman said of his marriage: “The love we have and the way it has grown, that’s what I’d like to be remembered for.”\u003cbr>\n___\u003cbr>\nThe late Associated Press entertainer writer Bob Thomas contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a pair of rites we see often at the passing of great authors: first, the tributes from those who loved their books; then, the good-faith effort to find their unfinished works and shepherd them to the bookshelves they never would have found otherwise.\u003c/p>\n\u003cp>In the case of Terry Pratchett’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/12/392555605/terry-pratchett-prolific-fantasy-author-dies-at-66\" target=\"_blank\" rel=\"noopener\">death in 2015\u003c/a>, those tributes were \u003ca href=\"http://www.npr.org/2015/03/12/392574719/author-terry-pratchett-was-no-stranger-to-death\" target=\"_blank\" rel=\"noopener\">voluminous and poignant\u003c/a>, penned for a writer whose deft touch could leave readers laughing, thoughtful or \u003ca href=\"http://www.npr.org/2015/09/02/435543508/the-shepherds-crown-tells-terry-pratchetts-fans-how-to-mourn-him\" target=\"_blank\" rel=\"noopener\">crushed\u003c/a>. As for the prolific \u003ca href=\"http://www.npr.org/2015/03/16/393358428/theres-no-wrong-place-to-start-reading-pratchett\" target=\"_blank\" rel=\"noopener\">Discworld author\u003c/a>‘s unfinished works — well, those are just crushed.\u003c/p>\n\u003cp>As in, literally crushed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thetimes.co.uk/article/pratchett-wanted-final-work-destroyed-by-a-steamroller-5vdlkcf6wj8\">Per Sir Terry’s wishes\u003c/a>, a hard drive containing his unfinished books was introduced to the unforgiving end of a steamroller last Friday. The manager of Pratchett’s estate, Rob Wilkins, tweeted the ritual act’s before-and-after from the writer’s official account, \u003ca href=\"https://twitter.com/terryandrob/status/901028525200879616\">displaying the hard drive\u003c/a> — said to have contained \u003ca href=\"https://twitter.com/SteveHarrisDJ/status/902602964883435522\">10 separate works in progress\u003c/a> — then displaying what it looked like after meeting a steamroller named Lord Jericho at the \u003ca href=\"https://twitter.com/steamfair\">Great Dorset Steam Fair\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/terryandrob/status/901028525200879616\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/terryandrob/status/901037198665019392\u003c/p>\n\u003cp>Richard Henry, an official at \u003ca href=\"http://www.pratchetthisworld.com/\">The Salisbury Museum\u003c/a>, where the remains of the hard drive will be displayed along with \u003ca href=\"https://twitter.com/Wiltshire_flo/status/901048067549532165\">other artifacts\u003c/a> of Pratchett’s life and work, noted with Pratchett’s characteristic mordant humor that \u003ca href=\"https://twitter.com/Wiltshire_flo/status/902536668170866688\">Lord Jericho proved\u003c/a> “modern technology is no match for the might of the Industrial Revolution.”\u003c/p>\n\u003cp>https://twitter.com/Wiltshire_flo/status/902536668170866688\u003c/p>\n\u003cp>Henry \u003ca href=\"http://www.bbc.com/news/uk-england-dorset-41093066\">told the BBC\u003c/a> that Pratchett, who died at age 66, wanted his unfinished works destroyed after his death to prevent them from seeing the light of day without his blessing.\u003c/p>\n\u003cp>Pratchett had struggled with early-onset Alzheimer’s disease for nearly a decade before his death.\u003c/p>\n\u003cp>“It’s really nice that they have followed his requests so specifically,” Henry said — though he admitted the effort was not without complications.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s surprisingly difficult to find somebody to run over a hard drive with a steamroller. I think a few people thought we were kidding when I first started putting out feelers to see if it was possible or not.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Fitting+Postscript%2C+Terry+Pratchett+Had+His+Unfinished+Works+Steamrolled&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a pair of rites we see often at the passing of great authors: first, the tributes from those who loved their books; then, the good-faith effort to find their unfinished works and shepherd them to the bookshelves they never would have found otherwise.\u003c/p>\n\u003cp>In the case of Terry Pratchett’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/12/392555605/terry-pratchett-prolific-fantasy-author-dies-at-66\" target=\"_blank\" rel=\"noopener\">death in 2015\u003c/a>, those tributes were \u003ca href=\"http://www.npr.org/2015/03/12/392574719/author-terry-pratchett-was-no-stranger-to-death\" target=\"_blank\" rel=\"noopener\">voluminous and poignant\u003c/a>, penned for a writer whose deft touch could leave readers laughing, thoughtful or \u003ca href=\"http://www.npr.org/2015/09/02/435543508/the-shepherds-crown-tells-terry-pratchetts-fans-how-to-mourn-him\" target=\"_blank\" rel=\"noopener\">crushed\u003c/a>. As for the prolific \u003ca href=\"http://www.npr.org/2015/03/16/393358428/theres-no-wrong-place-to-start-reading-pratchett\" target=\"_blank\" rel=\"noopener\">Discworld author\u003c/a>‘s unfinished works — well, those are just crushed.\u003c/p>\n\u003cp>As in, literally crushed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thetimes.co.uk/article/pratchett-wanted-final-work-destroyed-by-a-steamroller-5vdlkcf6wj8\">Per Sir Terry’s wishes\u003c/a>, a hard drive containing his unfinished books was introduced to the unforgiving end of a steamroller last Friday. The manager of Pratchett’s estate, Rob Wilkins, tweeted the ritual act’s before-and-after from the writer’s official account, \u003ca href=\"https://twitter.com/terryandrob/status/901028525200879616\">displaying the hard drive\u003c/a> — said to have contained \u003ca href=\"https://twitter.com/SteveHarrisDJ/status/902602964883435522\">10 separate works in progress\u003c/a> — then displaying what it looked like after meeting a steamroller named Lord Jericho at the \u003ca href=\"https://twitter.com/steamfair\">Great Dorset Steam Fair\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Richard Henry, an official at \u003ca href=\"http://www.pratchetthisworld.com/\">The Salisbury Museum\u003c/a>, where the remains of the hard drive will be displayed along with \u003ca href=\"https://twitter.com/Wiltshire_flo/status/901048067549532165\">other artifacts\u003c/a> of Pratchett’s life and work, noted with Pratchett’s characteristic mordant humor that \u003ca href=\"https://twitter.com/Wiltshire_flo/status/902536668170866688\">Lord Jericho proved\u003c/a> “modern technology is no match for the might of the Industrial Revolution.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cp>The lobby of a Silicon Valley tech company is not where you would expect to hear a soprano belting out a \u003ca href=\"http://www.npr.org/artists/90063951/giacomo-puccini\" target=\"_blank\" rel=\"noopener noreferrer\">Puccini\u003c/a> aria, but that was exactly what happened at the first performance of Arias in the Office.\u003c/p>\n\u003cp>With “Ch’il Bel Sogno,” soprano Katharine Gunnink kicked off the new pop-up series at Adobe’s San Jose headquarters at the beginning of August. The initiative by Opera San José aims to introduce people to the very concept of opera as something that can be fun and enjoyable.\u003c/p>\n\u003cp>“That’s the idea — to bring what we do, and the level at which we do it, to people who’ve heard it and are fans, or people who’ve never heard it,” explains Aaron Nicholson, director of Marketing and Development for Opera San José.\u003c/p>\n\u003cp>The free performance had the intended effect on Jyh-Jiun Liou, a software quality engineer for Adobe who has lived in nearby Sunnyvale for 25 years but had no clue Opera San José even existed.\u003c/p>\n\u003cfigure id=\"attachment_13806983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg\" alt=\"Trevor Neal performs for Adobe employees at the company's headquarters in San Jose, Calif. as part of Arias in the Office\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs for Adobe employees at the company’s headquarters in San Jose, Calif. as part of Arias in the Office \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Not a fan, but I really like it,” she remarked. “So if I see they will have a performance — maybe I will purchase a ticket.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the other end of the spectrum was Zori Sanchez, of Adobe’s finance department. Sanchez is a single ticket holder who says she “periodically” goes to the opera with friends. “I tend to go with people who kind of love it,” she says.\u003c/p>\n\u003cp>About 60 self-selecting attendees gathered in the Adobe lobby for the free performance — and more curious passers-by looked on. Such pop-up concerts in non-traditional venues, like parks and pubs, have helped a growing number of opera artists cultivate new fans.\u003c/p>\n\u003cp>Opera on Tap is a national non-profit focused on taking the art form beyond the opera house in the name of community outreach. “We can’t just expect that if we put together a great season, people will come,” says Indre Viskontas, a soprano with the San Francisco chapter. “We need to go to where they are and show them how awesome our art is. And then they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13806984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg\" alt=\"Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For workers at some Silicon Valley companies, Arias in the Office might very well be pleasantly surprising lunchtime entertainment. But for opera singers and performers, the pop-up series is not just a means of expanding their audience, but also continuing the relevance and vibrancy of their art form.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Pop-Up+Series+Treats+Silicon+Valley+Workers+To+Opera+At+The+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lobby of a Silicon Valley tech company is not where you would expect to hear a soprano belting out a \u003ca href=\"http://www.npr.org/artists/90063951/giacomo-puccini\" target=\"_blank\" rel=\"noopener noreferrer\">Puccini\u003c/a> aria, but that was exactly what happened at the first performance of Arias in the Office.\u003c/p>\n\u003cp>With “Ch’il Bel Sogno,” soprano Katharine Gunnink kicked off the new pop-up series at Adobe’s San Jose headquarters at the beginning of August. The initiative by Opera San José aims to introduce people to the very concept of opera as something that can be fun and enjoyable.\u003c/p>\n\u003cp>“That’s the idea — to bring what we do, and the level at which we do it, to people who’ve heard it and are fans, or people who’ve never heard it,” explains Aaron Nicholson, director of Marketing and Development for Opera San José.\u003c/p>\n\u003cp>The free performance had the intended effect on Jyh-Jiun Liou, a software quality engineer for Adobe who has lived in nearby Sunnyvale for 25 years but had no clue Opera San José even existed.\u003c/p>\n\u003cfigure id=\"attachment_13806983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg\" alt=\"Trevor Neal performs for Adobe employees at the company's headquarters in San Jose, Calif. as part of Arias in the Office\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs for Adobe employees at the company’s headquarters in San Jose, Calif. as part of Arias in the Office \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Not a fan, but I really like it,” she remarked. “So if I see they will have a performance — maybe I will purchase a ticket.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the other end of the spectrum was Zori Sanchez, of Adobe’s finance department. Sanchez is a single ticket holder who says she “periodically” goes to the opera with friends. “I tend to go with people who kind of love it,” she says.\u003c/p>\n\u003cp>About 60 self-selecting attendees gathered in the Adobe lobby for the free performance — and more curious passers-by looked on. Such pop-up concerts in non-traditional venues, like parks and pubs, have helped a growing number of opera artists cultivate new fans.\u003c/p>\n\u003cp>Opera on Tap is a national non-profit focused on taking the art form beyond the opera house in the name of community outreach. “We can’t just expect that if we put together a great season, people will come,” says Indre Viskontas, a soprano with the San Francisco chapter. “We need to go to where they are and show them how awesome our art is. And then they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13806984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg\" alt=\"Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For workers at some Silicon Valley companies, Arias in the Office might very well be pleasantly surprising lunchtime entertainment. But for opera singers and performers, the pop-up series is not just a means of expanding their audience, but also continuing the relevance and vibrancy of their art form.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Pop-Up+Series+Treats+Silicon+Valley+Workers+To+Opera+At+The+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Being shot and paralyzed from the waist down couldn’t stop \u003ca href=\"http://www.weslawhitfield.com/pages/info/bio.html\" target=\"_blank\" rel=\"noopener\">Wesla Whitfield’s\u003c/a> singing career. But after almost 50 years, health problems of another sort have forced the veteran cabaret singer to step away from the microphone.\u003c/p>\n\u003cp>Whitfield’s husband and longtime musical collaborator Mike Greensill announced her decision to retire from the stage in an email sent Wednesday morning, explaining that her voice has been affected by medication that the 69-year-old singer takes to deal with a persistent infection.\u003c/p>\n\u003cp>“She’s just not happy with her ability to sing up to her standards, so she has decided, reluctantly, that it’s time to hang it all up, concentrate on getting better and not have to worry about the energy needed for performing,” Greensill wrote.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY10Ew7RjKE\u003c/p>\n\u003cp>Born in Santa Maria, Whitfield began her singing career after she graduated from San Francisco Stage College. For four years in the mid ’70s, she sang soprano for the San Francisco Opera’s chorus. But after spending too many nights in the city’s sleazy piano bars, she fell in love with the Great American Songbook and gave up on her opera career. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She always said opera was about the voice, while the songs from the Great American Songbook were about the story,” Greensill says. “She always liked telling the story more than showing off.”\u003c/p>\n\u003cp>Whitfield then landed a job as a singing cocktail waitress, and performed at different venues until 1977, when she was shot. In an interview with the \u003ca href=\"http://articles.latimes.com/1999/apr/18/news/mn-28533\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, she said she was leaving her San Francisco rehearsal space when she was accosted by two boys. She walked away from them, and one of them pulled out a gun and shot her in the back. \u003c/p>\n\u003cp>“I heard a little popping sound,” she told the \u003cem>Times\u003c/em>. “I turned and fell down.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dqBi84-30KI\u003c/p>\n\u003cp>The shooting left her paralyzed from the waist down, confining her to a wheelchair for the rest of her life. She was 29.\u003c/p>\n\u003cp>Thinking her singing days were over, she went back to school for computer programming. But she was depressed, and what helped was returning to the stage. As she worked to regain her mobility, she began singing at small clubs around town. \u003c/p>\n\u003cp>It was at one of those small clubs where Greensill saw her. After her set, he offered to arrange songs and accompany her on piano. They started working together, and before long they were married. Both Whitfield and Greensill had been married twice before, but Greensill notes that when he met Whitfield, they had matured. Their marriage has lasted 30 years.\u003c/p>\n\u003cp>“Also, being a diva’s accompanist is great training for marriage,” Greensill says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxKvOhCAmHM\u003c/p>\n\u003cp>The combination of Whitfield’s voice and Greensill’s arrangements led to better and better gigs. Shows at the White House and Carnegie Hall, symphonic performances with Michael Tilson Thomas conducting, and even appearances on TV shows such as \u003cem>Regis and Kelly\u003c/em> and \u003cem>CBS Sunday Morning.\u003c/em> Before her retirement, the duo recorded and released 22 albums.\u003c/p>\n\u003cp>Greensill says the announcement was sad for Whitfield, but also a relief. The couple live in the North Bay and own Silo’s, a music club in Napa where they perform often. Whitfield didn’t like singing in front of audiences when her voice wasn’t in shape, and now Greensill says she doesn’t have that pressure on her anymore.\u003c/p>\n\u003cp>But Greensill also admits that there’s a possibility that Whitfield could get better and return to the stage.\u003c/p>\n\u003cp>“We all know Sinatra retired three times before he actually stopped singing,” Greensill says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Being shot and paralyzed from the waist down couldn’t stop \u003ca href=\"http://www.weslawhitfield.com/pages/info/bio.html\" target=\"_blank\" rel=\"noopener\">Wesla Whitfield’s\u003c/a> singing career. But after almost 50 years, health problems of another sort have forced the veteran cabaret singer to step away from the microphone.\u003c/p>\n\u003cp>Whitfield’s husband and longtime musical collaborator Mike Greensill announced her decision to retire from the stage in an email sent Wednesday morning, explaining that her voice has been affected by medication that the 69-year-old singer takes to deal with a persistent infection.\u003c/p>\n\u003cp>“She’s just not happy with her ability to sing up to her standards, so she has decided, reluctantly, that it’s time to hang it all up, concentrate on getting better and not have to worry about the energy needed for performing,” Greensill wrote.\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/xY10Ew7RjKE'\n title='//www.youtube.com/embed/xY10Ew7RjKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in Santa Maria, Whitfield began her singing career after she graduated from San Francisco Stage College. For four years in the mid ’70s, she sang soprano for the San Francisco Opera’s chorus. But after spending too many nights in the city’s sleazy piano bars, she fell in love with the Great American Songbook and gave up on her opera career. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She always said opera was about the voice, while the songs from the Great American Songbook were about the story,” Greensill says. “She always liked telling the story more than showing off.”\u003c/p>\n\u003cp>Whitfield then landed a job as a singing cocktail waitress, and performed at different venues until 1977, when she was shot. In an interview with the \u003ca href=\"http://articles.latimes.com/1999/apr/18/news/mn-28533\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, she said she was leaving her San Francisco rehearsal space when she was accosted by two boys. She walked away from them, and one of them pulled out a gun and shot her in the back. \u003c/p>\n\u003cp>“I heard a little popping sound,” she told the \u003cem>Times\u003c/em>. “I turned and fell down.” \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/dqBi84-30KI'\n title='//www.youtube.com/embed/dqBi84-30KI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shooting left her paralyzed from the waist down, confining her to a wheelchair for the rest of her life. She was 29.\u003c/p>\n\u003cp>Thinking her singing days were over, she went back to school for computer programming. But she was depressed, and what helped was returning to the stage. As she worked to regain her mobility, she began singing at small clubs around town. \u003c/p>\n\u003cp>It was at one of those small clubs where Greensill saw her. After her set, he offered to arrange songs and accompany her on piano. They started working together, and before long they were married. Both Whitfield and Greensill had been married twice before, but Greensill notes that when he met Whitfield, they had matured. Their marriage has lasted 30 years.\u003c/p>\n\u003cp>“Also, being a diva’s accompanist is great training for marriage,” Greensill says.\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/pxKvOhCAmHM'\n title='//www.youtube.com/embed/pxKvOhCAmHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The combination of Whitfield’s voice and Greensill’s arrangements led to better and better gigs. Shows at the White House and Carnegie Hall, symphonic performances with Michael Tilson Thomas conducting, and even appearances on TV shows such as \u003cem>Regis and Kelly\u003c/em> and \u003cem>CBS Sunday Morning.\u003c/em> Before her retirement, the duo recorded and released 22 albums.\u003c/p>\n\u003cp>Greensill says the announcement was sad for Whitfield, but also a relief. The couple live in the North Bay and own Silo’s, a music club in Napa where they perform often. Whitfield didn’t like singing in front of audiences when her voice wasn’t in shape, and now Greensill says she doesn’t have that pressure on her anymore.\u003c/p>\n\u003cp>But Greensill also admits that there’s a possibility that Whitfield could get better and return to the stage.\u003c/p>\n\u003cp>“We all know Sinatra retired three times before he actually stopped singing,” Greensill says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The director of the Berkeley Public Library (BPL) \u003ca href=\"https://www.berkeleypubliclibrary.org/about/news/heidi-dolamore-resigns-director-berkeley-public-library\" target=\"_blank\" rel=\"noopener\">announced Monday\u003c/a> that she will resign after a troubled year for Library officials and staff.\u003c/p>\n\u003cp>Heidi Dolamore, BPL’s director of library services, will officially step down from the post on Sep. 22, less than a year after she was appointed. An official reason for her departure had not been provided as of Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13806836\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg\" alt=\"Heidi Dolamore in 2013\" width=\"639\" height=\"637\" class=\"size-full wp-image-13806836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-150x150.jpg 150w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Dolamore in 2013 \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A former assistant director at the San Jose Public Library, Dolamore became BPL’s director as a tense relationship between library staff and the general public came to light. Earlier this year, \u003ca href=\"http://www.berkeleyside.com/2017/03/02/staffers-at-berkeley-library-describe-atmosphere-of-discomfort-and-distrust/\" target=\"_blank\" rel=\"noopener\">Berkeleyside reported\u003c/a> that BPL staffers had been subjected to a workplace that was filled with “discomfort and distrust.”\u003c/p>\n\u003cp>In addition, two members of the Board of Library Trustees (BOLT) — former president Julie Holcomb and vice president Jim Novosel — were dismissed by \u003ca href=\"http://www.eastbaytimes.com/2017/04/05/berkeley-council-ousts-two-library-trustees/\" target=\"_blank\" rel=\"noopener\">Berkeley’s City Council in April\u003c/a>, the first time the Council has utilized this power toward the largely-autonomous board.\u003c/p>\n\u003cp>The news came as a surprise to Andrea Mullarkey, a teen librarian at the Tarea Hall Pitman South Branch and shop steward for SEIU Local 1021. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The tensions that have been undergoing in previous years have been alleviated at this point,” said Mullarkey. “Things have been improving and staff has been getting traction on a lot of things.”\u003c/p>\n\u003cp>Elliot Warren, who served as Deputy Director under Dolamore, will fill her position until BOLT finds a replacement.\u003c/p>\n\u003cp>BOLT’s next open meeting will take place next Monday, Sept. 6, where they plan on covering the next steps in the hunt for the new director.\u003c/p>\n\u003cp>“I am confident that everyone will work together as a team to continue to provide excellent library service to the Berkeley community while the Board conducts the search process for a new Library Director,” said BOLT President Diane Davenport in a press release.\u003c/p>\n\u003cp>Mullarkey agrees, adding that Davenport and the current BOLT leadership has made it a point to reach out to all library stakeholders in their decision-making.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dolamare is the second BPL director in a row to resign before spending a year in the position. Former director Jeff Scott \u003ca href=\"http://www.berkeleyside.com/2015/09/04/berkeley-library-director-jeff-scott-was-not-a-good-fit/\" target=\"_blank\" rel=\"noopener\">vacated the position\u003c/a> in Aug. 2015 after he was criticized for the way he culled the library’s collection, among other issues. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The director of the Berkeley Public Library (BPL) \u003ca href=\"https://www.berkeleypubliclibrary.org/about/news/heidi-dolamore-resigns-director-berkeley-public-library\" target=\"_blank\" rel=\"noopener\">announced Monday\u003c/a> that she will resign after a troubled year for Library officials and staff.\u003c/p>\n\u003cp>Heidi Dolamore, BPL’s director of library services, will officially step down from the post on Sep. 22, less than a year after she was appointed. An official reason for her departure had not been provided as of Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13806836\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg\" alt=\"Heidi Dolamore in 2013\" width=\"639\" height=\"637\" class=\"size-full wp-image-13806836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-150x150.jpg 150w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Dolamore in 2013 \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A former assistant director at the San Jose Public Library, Dolamore became BPL’s director as a tense relationship between library staff and the general public came to light. Earlier this year, \u003ca href=\"http://www.berkeleyside.com/2017/03/02/staffers-at-berkeley-library-describe-atmosphere-of-discomfort-and-distrust/\" target=\"_blank\" rel=\"noopener\">Berkeleyside reported\u003c/a> that BPL staffers had been subjected to a workplace that was filled with “discomfort and distrust.”\u003c/p>\n\u003cp>In addition, two members of the Board of Library Trustees (BOLT) — former president Julie Holcomb and vice president Jim Novosel — were dismissed by \u003ca href=\"http://www.eastbaytimes.com/2017/04/05/berkeley-council-ousts-two-library-trustees/\" target=\"_blank\" rel=\"noopener\">Berkeley’s City Council in April\u003c/a>, the first time the Council has utilized this power toward the largely-autonomous board.\u003c/p>\n\u003cp>The news came as a surprise to Andrea Mullarkey, a teen librarian at the Tarea Hall Pitman South Branch and shop steward for SEIU Local 1021. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The tensions that have been undergoing in previous years have been alleviated at this point,” said Mullarkey. “Things have been improving and staff has been getting traction on a lot of things.”\u003c/p>\n\u003cp>Elliot Warren, who served as Deputy Director under Dolamore, will fill her position until BOLT finds a replacement.\u003c/p>\n\u003cp>BOLT’s next open meeting will take place next Monday, Sept. 6, where they plan on covering the next steps in the hunt for the new director.\u003c/p>\n\u003cp>“I am confident that everyone will work together as a team to continue to provide excellent library service to the Berkeley community while the Board conducts the search process for a new Library Director,” said BOLT President Diane Davenport in a press release.\u003c/p>\n\u003cp>Mullarkey agrees, adding that Davenport and the current BOLT leadership has made it a point to reach out to all library stakeholders in their decision-making.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dolamare is the second BPL director in a row to resign before spending a year in the position. Former director Jeff Scott \u003ca href=\"http://www.berkeleyside.com/2015/09/04/berkeley-library-director-jeff-scott-was-not-a-good-fit/\" target=\"_blank\" rel=\"noopener\">vacated the position\u003c/a> in Aug. 2015 after he was criticized for the way he culled the library’s collection, among other issues. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Baltimore Took Down Confederate Monuments. Now It Has To Decide What To Do With Them",
"headTitle": "Baltimore Took Down Confederate Monuments. Now It Has To Decide What To Do With Them | KQED",
"content": "\u003cp>If you walked into Baltimore’s Wyman Park Dell two weeks ago, a statue of Confederate Gens. Robert E. Lee and Stonewall Jackson on horseback would have towered above you.\u003c/p>\n\u003cp>There’s an inscription on the base that reads, “They were great generals and Christian soldiers and waged war like gentlemen.” But now, there’s nothing atop the pedestal except for a few potted plants.\u003c/p>\n\u003cp>On Aug. 16, under the cover of darkness, Baltimore removed four statues of figures with Confederate ties \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\">in a five-hour operation\u003c/a> ordered by Mayor Catherine Pugh.\u003c/p>\n\u003cp>The Lee-Jackson statue and three others are now in a city lot, covered and protected. The location is being kept secret. And Baltimore is trying to figure out what to do with them. Pugh says she has appointed a working group of city officials to weigh the options for where the statues should go.\u003c/p>\n\u003cp>Other cities across the U.S. that have taken down controversial monuments are grappling with the same questions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They’re coming down so fast, I don’t know if we have enough museums to house them or enough cemeteries to stick them in,” Pugh says of those works.\u003c/p>\n\u003cp>Baltimore’s mayor says she took action quickly and quietly because she was worried about violence in the aftermath of Charlottesville, Va., where plans to remove a statue of Lee became a rallying point for white nationalists.\u003c/p>\n\u003cp>Pugh says that because of safety concerns, only she and the contractor knew the removals were happening until right before the operation started.\u003c/p>\n\u003cp>The statues had already been a matter of city debate for years. In 2015, a panel of scholars heard comments from more than 200 people about whether the statues should stay or go and what should be done with them if they were removed.\u003c/p>\n\u003cp>“There were a wide variety of opinions about the statues and about how we should remember Baltimore’s complicated situation during the Civil War and how we should remember the Jim Crow era here,” says University of Baltimore history professor Elizabeth Nix, who was part of that commission. “Really, those statues are products of the Jim Crow era and not the Civil War.”\u003c/p>\n\u003cp>During the war, Maryland was a slaveholding state that never seceded from the Union. It had three times more soldiers who fought for the Union than for the Confederacy. And after the war, Nix says, many former Confederates moved to Baltimore.\u003c/p>\n\u003cp>“Those monuments that went up were definitely a message to the thriving black professional class that white supremacy still reigned in the city,” Nix said. In a deeply segregated city, these issues still resonate.\u003c/p>\n\u003cp>One of those four statues, for example, depicts Roger Brooke Taney, the chief justice of the United States who oversaw \u003ca href=\"https://www.oyez.org/cases/1850-1900/60us393\">the infamous Dred Scott Supreme Court decision\u003c/a>. While Taney wasn’t a Confederate figure, the statue is seen as having ties to the Confederate cause. His majority opinion in 1857 stated that African-Americans could not be considered citizens — and by extension the decision treated black people as property, not people.\u003c/p>\n\u003cp>“There is a difference between honoring people from history and having a memory of people from history,” Nix added. “So I think those statues can exist in the proper context, but where they were was not the proper context.”\u003c/p>\n\u003cfigure id=\"attachment_13806758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/baltimore-monument-800x449.jpg\" alt=\"Baltimore's statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13806758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baltimore’s statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants. \u003ccite>(Mark Goebel/Flickr; Merrit Kennedy/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She recommended placing the Lee-Jackson monument in context — at the Chancellorsville Civil War battlefield in Virginia.\u003cem> \u003c/em>The monument depicts the generals prior to that battle, where Jackson was fatally wounded.\u003c/p>\n\u003cp>Pugh says Baltimore officials are considering sending the four monuments to museums or Civil War cemeteries.\u003c/p>\n\u003cp>City Councilman Brandon Scott doesn’t want Confederate statues put on any public land: “Because you’re saying we don’t want it here because it’s disrespectful to the black people here, the women here, etc., but you send it there and those people have to see it each and every day.”\u003c/p>\n\u003cp>He has a more radical idea. “Personally I think that they should be melted down and repurposed for statues that can show true Baltimoreans and true American, great American history,” Scott says.\u003c/p>\n\u003cp>The councilman suggests that the materials could be used to depict people such as abolitionist leader Frederick Douglass or Thurgood Marshall, the first black Supreme Court justice.\u003c/p>\n\u003cp>That’s unlikely to happen, though, because the mayor says she doesn’t want to destroy the statues. “I think that we should be pushing love, respect, how we work together and move our country forward. That does not come in the context of where I’d like to see us go,” Pugh says.\u003c/p>\n\u003cp>Whatever the city decides to do with the monuments, there’s also the question of what to do with the empty pedestals where they once stood.\u003c/p>\n\u003cp>Pugh likes the idea of using these public spaces to honor people who have made positive contributions to Baltimore. She also doesn’t want people to forget what stood there before.\u003c/p>\n\u003cp>“Because I think it is important that people know what did stand there and why. And the reasons for which they came down,” Pugh says. She says proposals are coming in from artists, and reads an email aloud off her phone from an African-American artist who wants to paint the pedestals in a way that would educate people about the site’s history.\u003c/p>\n\u003cp>“I think that’s an awesome proposal,” Pugh says, “But these kinds of decisions should not be made alone.” She says there is no timeline yet for determining what will happen to the statues or the sites.\u003c/p>\n\u003cp>Dereck Mangus works at the Baltimore Museum of Art, down the street from the Lee Jackson site. He eats his lunch here every day and says he has never seen so many visitors looking at the empty space.\u003c/p>\n\u003cp>“It’s just sort of funny in a way, people wanting to see that which is no longer there,” Mangus says.\u003c/p>\n\u003cp>Charles Hopwood, a retired city employee, is one of those visitors. “Keeping it empty makes a statement on its own,” he says as he looks up at the pedestal. “And have a little sign in front of it with a picture of what was here and what isn’t.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s making a historical statement on its own.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Baltimore+Took+Down+Confederate+Monuments.+Now+It+Has+To+Decide+What+To+Do+With+Them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you walked into Baltimore’s Wyman Park Dell two weeks ago, a statue of Confederate Gens. Robert E. Lee and Stonewall Jackson on horseback would have towered above you.\u003c/p>\n\u003cp>There’s an inscription on the base that reads, “They were great generals and Christian soldiers and waged war like gentlemen.” But now, there’s nothing atop the pedestal except for a few potted plants.\u003c/p>\n\u003cp>On Aug. 16, under the cover of darkness, Baltimore removed four statues of figures with Confederate ties \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\">in a five-hour operation\u003c/a> ordered by Mayor Catherine Pugh.\u003c/p>\n\u003cp>The Lee-Jackson statue and three others are now in a city lot, covered and protected. The location is being kept secret. And Baltimore is trying to figure out what to do with them. Pugh says she has appointed a working group of city officials to weigh the options for where the statues should go.\u003c/p>\n\u003cp>Other cities across the U.S. that have taken down controversial monuments are grappling with the same questions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They’re coming down so fast, I don’t know if we have enough museums to house them or enough cemeteries to stick them in,” Pugh says of those works.\u003c/p>\n\u003cp>Baltimore’s mayor says she took action quickly and quietly because she was worried about violence in the aftermath of Charlottesville, Va., where plans to remove a statue of Lee became a rallying point for white nationalists.\u003c/p>\n\u003cp>Pugh says that because of safety concerns, only she and the contractor knew the removals were happening until right before the operation started.\u003c/p>\n\u003cp>The statues had already been a matter of city debate for years. In 2015, a panel of scholars heard comments from more than 200 people about whether the statues should stay or go and what should be done with them if they were removed.\u003c/p>\n\u003cp>“There were a wide variety of opinions about the statues and about how we should remember Baltimore’s complicated situation during the Civil War and how we should remember the Jim Crow era here,” says University of Baltimore history professor Elizabeth Nix, who was part of that commission. “Really, those statues are products of the Jim Crow era and not the Civil War.”\u003c/p>\n\u003cp>During the war, Maryland was a slaveholding state that never seceded from the Union. It had three times more soldiers who fought for the Union than for the Confederacy. And after the war, Nix says, many former Confederates moved to Baltimore.\u003c/p>\n\u003cp>“Those monuments that went up were definitely a message to the thriving black professional class that white supremacy still reigned in the city,” Nix said. In a deeply segregated city, these issues still resonate.\u003c/p>\n\u003cp>One of those four statues, for example, depicts Roger Brooke Taney, the chief justice of the United States who oversaw \u003ca href=\"https://www.oyez.org/cases/1850-1900/60us393\">the infamous Dred Scott Supreme Court decision\u003c/a>. While Taney wasn’t a Confederate figure, the statue is seen as having ties to the Confederate cause. His majority opinion in 1857 stated that African-Americans could not be considered citizens — and by extension the decision treated black people as property, not people.\u003c/p>\n\u003cp>“There is a difference between honoring people from history and having a memory of people from history,” Nix added. “So I think those statues can exist in the proper context, but where they were was not the proper context.”\u003c/p>\n\u003cfigure id=\"attachment_13806758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/baltimore-monument-800x449.jpg\" alt=\"Baltimore's statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13806758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baltimore’s statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants. \u003ccite>(Mark Goebel/Flickr; Merrit Kennedy/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She recommended placing the Lee-Jackson monument in context — at the Chancellorsville Civil War battlefield in Virginia.\u003cem> \u003c/em>The monument depicts the generals prior to that battle, where Jackson was fatally wounded.\u003c/p>\n\u003cp>Pugh says Baltimore officials are considering sending the four monuments to museums or Civil War cemeteries.\u003c/p>\n\u003cp>City Councilman Brandon Scott doesn’t want Confederate statues put on any public land: “Because you’re saying we don’t want it here because it’s disrespectful to the black people here, the women here, etc., but you send it there and those people have to see it each and every day.”\u003c/p>\n\u003cp>He has a more radical idea. “Personally I think that they should be melted down and repurposed for statues that can show true Baltimoreans and true American, great American history,” Scott says.\u003c/p>\n\u003cp>The councilman suggests that the materials could be used to depict people such as abolitionist leader Frederick Douglass or Thurgood Marshall, the first black Supreme Court justice.\u003c/p>\n\u003cp>That’s unlikely to happen, though, because the mayor says she doesn’t want to destroy the statues. “I think that we should be pushing love, respect, how we work together and move our country forward. That does not come in the context of where I’d like to see us go,” Pugh says.\u003c/p>\n\u003cp>Whatever the city decides to do with the monuments, there’s also the question of what to do with the empty pedestals where they once stood.\u003c/p>\n\u003cp>Pugh likes the idea of using these public spaces to honor people who have made positive contributions to Baltimore. She also doesn’t want people to forget what stood there before.\u003c/p>\n\u003cp>“Because I think it is important that people know what did stand there and why. And the reasons for which they came down,” Pugh says. She says proposals are coming in from artists, and reads an email aloud off her phone from an African-American artist who wants to paint the pedestals in a way that would educate people about the site’s history.\u003c/p>\n\u003cp>“I think that’s an awesome proposal,” Pugh says, “But these kinds of decisions should not be made alone.” She says there is no timeline yet for determining what will happen to the statues or the sites.\u003c/p>\n\u003cp>Dereck Mangus works at the Baltimore Museum of Art, down the street from the Lee Jackson site. He eats his lunch here every day and says he has never seen so many visitors looking at the empty space.\u003c/p>\n\u003cp>“It’s just sort of funny in a way, people wanting to see that which is no longer there,” Mangus says.\u003c/p>\n\u003cp>Charles Hopwood, a retired city employee, is one of those visitors. “Keeping it empty makes a statement on its own,” he says as he looks up at the pedestal. “And have a little sign in front of it with a picture of what was here and what isn’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>MTV is the TV network most widely associated with short attention spans. So it makes sense that its Video Music Awards would function as a jarring and disjointed jumble of moments — a howl of protest followed immediately by a singer’s tears of joy, or a heartfelt speech by a grieving mother giving way to a performance of “Da Ya Think I’m Sexy” by Rod Stewart and DNCE. In such a barrage, it’s unfair to expect any one performance, speech or spectacle to rise above the others, especially as the telecast stretched past three hours.\u003c/p>\n\u003cp>But rise they did: Kendrick Lamar’s riveting opening medley, with its copious flames, unfolded like a fire emoji come to life. Always a highlight of performance-driven awards shows, Pink followed a career-spanning greatest-hits set with a gorgeous speech. Lorde danced to her own song without bothering to lip-sync the words — an act that felt bold, even subversive, in the moment.\u003c/p>\n\u003cp>Aaaaaaaand then there was the other stuff, from Taylor Swift’s hotly anticipated video for “Look What You Made Me Do” — which devolved quickly into a mismatched mishmash of dull and recycled provocation — to Katy Perry’s game but thudding hosting job. Ed Sheeran winning Artist of the Year over Kendrick Lamar seemed almost perverse, if altogether predictable, after their respective performances, though Lamar thankfully took the biggest prize at the end of the night.\u003c/p>\n\u003cp>In the world of the VMAs, awards themselves are almost incidental, but here we go. Lamar led the field with six wins, though four of his prizes were of the technical variety, for the visually dazzling, Dave Meyers-directed video that accompanies “HUMBLE.” (Lamar and Meyers also took Video of the Year and Best Hip Hop Video.) Elsewhere, Khalid won the Artist to Watch Award, while other prizes went to Fifth Harmony and Gucci Mane (Best Pop Video), Zedd and Alessia Cara (Best Electronic Dance Video), Taylor Swift and Zayn (Best Collaboration), and Best Rock Video (Twenty One Pilots). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kendrick+Lamar+Wins+Big+In+The+VMAs%27+Jarring+Jumble+Of+Moments&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>MTV is the TV network most widely associated with short attention spans. So it makes sense that its Video Music Awards would function as a jarring and disjointed jumble of moments — a howl of protest followed immediately by a singer’s tears of joy, or a heartfelt speech by a grieving mother giving way to a performance of “Da Ya Think I’m Sexy” by Rod Stewart and DNCE. In such a barrage, it’s unfair to expect any one performance, speech or spectacle to rise above the others, especially as the telecast stretched past three hours.\u003c/p>\n\u003cp>But rise they did: Kendrick Lamar’s riveting opening medley, with its copious flames, unfolded like a fire emoji come to life. Always a highlight of performance-driven awards shows, Pink followed a career-spanning greatest-hits set with a gorgeous speech. Lorde danced to her own song without bothering to lip-sync the words — an act that felt bold, even subversive, in the moment.\u003c/p>\n\u003cp>Aaaaaaaand then there was the other stuff, from Taylor Swift’s hotly anticipated video for “Look What You Made Me Do” — which devolved quickly into a mismatched mishmash of dull and recycled provocation — to Katy Perry’s game but thudding hosting job. Ed Sheeran winning Artist of the Year over Kendrick Lamar seemed almost perverse, if altogether predictable, after their respective performances, though Lamar thankfully took the biggest prize at the end of the night.\u003c/p>\n\u003cp>In the world of the VMAs, awards themselves are almost incidental, but here we go. Lamar led the field with six wins, though four of his prizes were of the technical variety, for the visually dazzling, Dave Meyers-directed video that accompanies “HUMBLE.” (Lamar and Meyers also took Video of the Year and Best Hip Hop Video.) Elsewhere, Khalid won the Artist to Watch Award, while other prizes went to Fifth Harmony and Gucci Mane (Best Pop Video), Zedd and Alessia Cara (Best Electronic Dance Video), Taylor Swift and Zayn (Best Collaboration), and Best Rock Video (Twenty One Pilots). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kendrick+Lamar+Wins+Big+In+The+VMAs%27+Jarring+Jumble+Of+Moments&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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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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