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"slug": "cy-and-zahras-picks-hamlet-sings-standing-up-for-books-and-a-desi-comedy-fest",
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"content": "\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0e5jPX3ysY8\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nfUkLAvU4t4&t=203s\u003c/p>\n\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjCTIq6JVgU\u003c/p>\n\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AxqYr-9G21o&t=1127s\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\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": "The Do List this week features music from Sun Ra and Rahsaan Roland Kirk, singing from Hamlet, standup comedy and new plays.",
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"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest | KQED",
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"headline": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\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/0e5jPX3ysY8'\n title='//www.youtube.com/embed/0e5jPX3ysY8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nfUkLAvU4t4'\n title='//www.youtube.com/embed/nfUkLAvU4t4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/qjCTIq6JVgU'\n title='//www.youtube.com/embed/qjCTIq6JVgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AxqYr-9G21o'\n title='//www.youtube.com/embed/AxqYr-9G21o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-vietnam-war-a-harrowing-look-back-for-viewers-and-filmmakers-alike",
"title": "'The Vietnam War' a Harrowing Look Back for Viewers and Filmmakers Alike",
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"headTitle": "‘The Vietnam War’ a Harrowing Look Back for Viewers and Filmmakers Alike | KQED",
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"content": "\u003cp>If the truth hurts, then the new Ken Burns documentary \u003ci>The Vietnam War\u003c/i> is a kick in the stomach.\u003c/p>\n\u003cp>Burns and his co-director Lynn Novick spent 10 years making the 18-hour-long series \u003cem>The Vietnam War\u003c/em>, resulting in an extensive report on the decades-long conflict. Across 10 episodes, Burns and Novick’s lens focuses on our country’s mistakes and the horrors of modern warfare. Burns describes the work as “emotional archaeology,” and plenty of emotions are dug up throughout series: from the participants in the film, its viewers and even the filmmakers themselves.\u003c/p>\n\u003cp>“This film was exponentially more difficult and more challenging intellectually, emotionally, creatively, organizationally — just everything about it,” Novick said during an interview with both filmmakers at KQED last week. “We’re not really the same people we were 10 years ago.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3j-3Xi5BcKs\u003c/p>\n\u003cp>\u003ci>The Vietnam War\u003c/i>, which premieres on PBS in September, portrays the American government as missing the bigger picture, fatally focused on the spread of communism rather than the country’s desire for independence. The filmmakers establish this narrative in the first episode, which oscillates between France’s struggle to keep its hold on Vietnam and bloody scenes of America’s war in the same country a decade later. From the get-go, the documentary becomes frustrating for the viewer, who knows what’s going to happen but can’t do anything to stop it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s like a horror film where you see the teenager in her nightgown hearing a noise and coming out of a room, and you’re going, ‘Stay in your room. Don’t walk over there. Don’t go into the bathroom,’” Burns said.\u003c/p>\n\u003cp>Burns and Novick interviewed 80 sources for the film on a subject that scarred many, both physically or emotionally. Novick said that the reporting took a personal emotional toll, as she and Burns heard dozens of devastating stories and pored over thousands of images and hours of footage from a war that resulted in millions of civilians being killed, many of them women and children.\u003c/p>\n\u003cp>“When we’re looking at a piece of footage or a still photograph, it’s real to us. You hear the sounds, you see a child screaming — that sort of gets under your skin,” Novick said. “It’s almost hard to find words to explain how you’ve changed from just being exposed to this material, let alone trying to organize and make sense out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13792214\" 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/S3575-800x563.jpg\" alt=\"Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965.\" width=\"800\" height=\"563\" class=\"size-medium wp-image-13792214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965. \u003ccite>(Courtesy of AP/Horst Faas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the filmmakers were on a mission. Assisting them was the fact that enough time had passed since the conflict, and many who were affected by it at home and abroad were ready to tell their stories. They also made a concerted effort to speak with Vietnamese people on both sides of the conflict — North and South — ensuring for a more comprehensive viewpoint and moving away from most other American-centered documentaries on the war.\u003c/p>\n\u003cp>“What we need, not just in our understanding of Vietnam, but what we need right now in our understanding of ourselves, is an ability to tolerate a view that that isn’t quite our own — that’s just even a couple degrees different,” Burns said. \u003c/p>\n\u003cp>Indeed, statements from North Vietnamese soldiers prove to be the most poignant. While discussing how Americans reacted to their fellow soldiers, Viet Cong veteran Le Cong Huan notes that they “cried and held each other. When one was killed, the others stuck together.”\u003c/p>\n\u003cp>Added Cong Huan, “Americans, like Vietnamese, have a profound sense of humanity.'”\u003c/p>\n\u003cp>That humanization in the film extends to all parties involved in the war. For example, Burns and Novick said that they “obsessed” over the use of the term Viet Cong to describe the North Vietnamese army, who called themselves the National Liberation Front. Viet Cong has its origins as \u003ca href=\"https://en.wikipedia.org/wiki/Viet_Cong#Names\" target=\"_blank\" rel=\"noopener\">a derogatory term\u003c/a> meaning “Communist Traitors to Vietnam.” (They ended up using the term in the film, but not the accompanying book.)\u003c/p>\n\u003cfigure id=\"attachment_13790476\" 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/Lynn-Novick-Ken-Burns-800x450.jpg\" alt=\"Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at 'The Vietnam War' premiere during the 2017 Tribeca Film Festival\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at ‘The Vietnam War’ premiere during the 2017 Tribeca Film Festival. \u003ccite>(Photo: Dia Dipasupil/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These past few weeks, Burns and Novick have been touring the film, showing it across the nation to critical acclaim — some publications are calling \u003ci>The Vietnam War\u003c/i> \u003ca href=\"http://www.mercurynews.com/2017/07/30/is-the-vietnam-war-ken-burns-best-work-yet/\" target=\"_blank\" rel=\"noopener\">their best work yet\u003c/a>. Novick has even expressed concern that she and Burns would never work on a project “this important ever again.” (Burns insists that they will.) \u003c/p>\n\u003cp>For now, the two are enjoying the fruits of their labor, witnessing the overwhelming impact it has an audiences all over the nation. \u003c/p>\n\u003cp>“The first time we watched the whole film in one fell swoop — over four days — with some of the people who are in it, no one could talk when it was done. People were sobbing. I was sobbing so much I had to leave the room,” Novick said.\u003c/p>\n\u003cp>“In that moment we were overcome with the fact that we had relived the war with a group of people, some of whom had been in it,” Burns said. “It was the opposite of trauma — it was catharsis.”\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\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Vietnam War,’ a new 10-part, 18-hour documentary film series directed by Ken Burns and Lynn Novick, premieres Sept. 17, 2017, on PBS stations nationwide. Check your local listings for times.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the truth hurts, then the new Ken Burns documentary \u003ci>The Vietnam War\u003c/i> is a kick in the stomach.\u003c/p>\n\u003cp>Burns and his co-director Lynn Novick spent 10 years making the 18-hour-long series \u003cem>The Vietnam War\u003c/em>, resulting in an extensive report on the decades-long conflict. Across 10 episodes, Burns and Novick’s lens focuses on our country’s mistakes and the horrors of modern warfare. Burns describes the work as “emotional archaeology,” and plenty of emotions are dug up throughout series: from the participants in the film, its viewers and even the filmmakers themselves.\u003c/p>\n\u003cp>“This film was exponentially more difficult and more challenging intellectually, emotionally, creatively, organizationally — just everything about it,” Novick said during an interview with both filmmakers at KQED last week. “We’re not really the same people we were 10 years ago.”\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/3j-3Xi5BcKs'\n title='//www.youtube.com/embed/3j-3Xi5BcKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>The Vietnam War\u003c/i>, which premieres on PBS in September, portrays the American government as missing the bigger picture, fatally focused on the spread of communism rather than the country’s desire for independence. The filmmakers establish this narrative in the first episode, which oscillates between France’s struggle to keep its hold on Vietnam and bloody scenes of America’s war in the same country a decade later. From the get-go, the documentary becomes frustrating for the viewer, who knows what’s going to happen but can’t do anything to stop it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like a horror film where you see the teenager in her nightgown hearing a noise and coming out of a room, and you’re going, ‘Stay in your room. Don’t walk over there. Don’t go into the bathroom,’” Burns said.\u003c/p>\n\u003cp>Burns and Novick interviewed 80 sources for the film on a subject that scarred many, both physically or emotionally. Novick said that the reporting took a personal emotional toll, as she and Burns heard dozens of devastating stories and pored over thousands of images and hours of footage from a war that resulted in millions of civilians being killed, many of them women and children.\u003c/p>\n\u003cp>“When we’re looking at a piece of footage or a still photograph, it’s real to us. You hear the sounds, you see a child screaming — that sort of gets under your skin,” Novick said. “It’s almost hard to find words to explain how you’ve changed from just being exposed to this material, let alone trying to organize and make sense out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13792214\" 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/S3575-800x563.jpg\" alt=\"Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965.\" width=\"800\" height=\"563\" class=\"size-medium wp-image-13792214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965. \u003ccite>(Courtesy of AP/Horst Faas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the filmmakers were on a mission. Assisting them was the fact that enough time had passed since the conflict, and many who were affected by it at home and abroad were ready to tell their stories. They also made a concerted effort to speak with Vietnamese people on both sides of the conflict — North and South — ensuring for a more comprehensive viewpoint and moving away from most other American-centered documentaries on the war.\u003c/p>\n\u003cp>“What we need, not just in our understanding of Vietnam, but what we need right now in our understanding of ourselves, is an ability to tolerate a view that that isn’t quite our own — that’s just even a couple degrees different,” Burns said. \u003c/p>\n\u003cp>Indeed, statements from North Vietnamese soldiers prove to be the most poignant. While discussing how Americans reacted to their fellow soldiers, Viet Cong veteran Le Cong Huan notes that they “cried and held each other. When one was killed, the others stuck together.”\u003c/p>\n\u003cp>Added Cong Huan, “Americans, like Vietnamese, have a profound sense of humanity.'”\u003c/p>\n\u003cp>That humanization in the film extends to all parties involved in the war. For example, Burns and Novick said that they “obsessed” over the use of the term Viet Cong to describe the North Vietnamese army, who called themselves the National Liberation Front. Viet Cong has its origins as \u003ca href=\"https://en.wikipedia.org/wiki/Viet_Cong#Names\" target=\"_blank\" rel=\"noopener\">a derogatory term\u003c/a> meaning “Communist Traitors to Vietnam.” (They ended up using the term in the film, but not the accompanying book.)\u003c/p>\n\u003cfigure id=\"attachment_13790476\" 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/Lynn-Novick-Ken-Burns-800x450.jpg\" alt=\"Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at 'The Vietnam War' premiere during the 2017 Tribeca Film Festival\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at ‘The Vietnam War’ premiere during the 2017 Tribeca Film Festival. \u003ccite>(Photo: Dia Dipasupil/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These past few weeks, Burns and Novick have been touring the film, showing it across the nation to critical acclaim — some publications are calling \u003ci>The Vietnam War\u003c/i> \u003ca href=\"http://www.mercurynews.com/2017/07/30/is-the-vietnam-war-ken-burns-best-work-yet/\" target=\"_blank\" rel=\"noopener\">their best work yet\u003c/a>. Novick has even expressed concern that she and Burns would never work on a project “this important ever again.” (Burns insists that they will.) \u003c/p>\n\u003cp>For now, the two are enjoying the fruits of their labor, witnessing the overwhelming impact it has an audiences all over the nation. \u003c/p>\n\u003cp>“The first time we watched the whole film in one fell swoop — over four days — with some of the people who are in it, no one could talk when it was done. People were sobbing. I was sobbing so much I had to leave the room,” Novick said.\u003c/p>\n\u003cp>“In that moment we were overcome with the fact that we had relived the war with a group of people, some of whom had been in it,” Burns said. “It was the opposite of trauma — it was catharsis.”\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\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Vietnam War,’ a new 10-part, 18-hour documentary film series directed by Ken Burns and Lynn Novick, premieres Sept. 17, 2017, on PBS stations nationwide. Check your local listings for times.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amid a summer of financial troubles, Mills College has found an unexpected benefactor.\u003c/p>\n\u003cp>The Oakland college announced a $2 million donation to its Book Art program on Tuesday — one of the largest within the field. The gift to the school’s Book Art program will establish the Lovelace Family Chair in Book Art, the first endowed faculty position in the program.\u003c/p>\n\u003cp>It comes after the program’s impending closure was announced in an email late 2015. Pushback from students, faculty and community members alike, \u003ca href=\"https://savemillsbookart.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">documented on a Tumblr blog dedicated to the preservation of the program\u003c/a>, “helped to inspire the establishment of this chair,” according to a press release issued by the college. Its two joint donors wish to remain anonymous.\u003c/p>\n\u003cp>Mills is an early pioneer in the formal study of book art, offering courses in the field since the 1930s. But the program’s possible termination comes in light of Mills’ recent budgetary concerns, including a $9 million operating deficit on a total budget of $57 million and declining admission rates. Twelve faculty and staff members, five of whom were tenured, were dismissed in July after the school officially declared “financial emergency.”\u003c/p>\n\u003cp>Book art professor Kathleen Walkup will be the inaugural Lovelace chairperson. She currently serves as the director of the college’s Book Art program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I hope that this will help send a message to the administration and the trustees to the college that while they’re trying to reconfigure the direction of the college, this deep history and connection with the arts really comes through with this kind of donation,” said Walkup. “This is where Mills has its strength, its reputation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*It should be noted that jazz icon and Mills faculty member Roscoe Mitchell, whose tenure as the Darius Milhaud Chair in Composition was reported at risk of termination back \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\">in June by KQED\u003c/a>, will continue to hold his appointment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid a summer of financial troubles, Mills College has found an unexpected benefactor.\u003c/p>\n\u003cp>The Oakland college announced a $2 million donation to its Book Art program on Tuesday — one of the largest within the field. The gift to the school’s Book Art program will establish the Lovelace Family Chair in Book Art, the first endowed faculty position in the program.\u003c/p>\n\u003cp>It comes after the program’s impending closure was announced in an email late 2015. Pushback from students, faculty and community members alike, \u003ca href=\"https://savemillsbookart.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">documented on a Tumblr blog dedicated to the preservation of the program\u003c/a>, “helped to inspire the establishment of this chair,” according to a press release issued by the college. Its two joint donors wish to remain anonymous.\u003c/p>\n\u003cp>Mills is an early pioneer in the formal study of book art, offering courses in the field since the 1930s. But the program’s possible termination comes in light of Mills’ recent budgetary concerns, including a $9 million operating deficit on a total budget of $57 million and declining admission rates. Twelve faculty and staff members, five of whom were tenured, were dismissed in July after the school officially declared “financial emergency.”\u003c/p>\n\u003cp>Book art professor Kathleen Walkup will be the inaugural Lovelace chairperson. She currently serves as the director of the college’s Book Art program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I hope that this will help send a message to the administration and the trustees to the college that while they’re trying to reconfigure the direction of the college, this deep history and connection with the arts really comes through with this kind of donation,” said Walkup. “This is where Mills has its strength, its reputation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*It should be noted that jazz icon and Mills faculty member Roscoe Mitchell, whose tenure as the Darius Milhaud Chair in Composition was reported at risk of termination back \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\">in June by KQED\u003c/a>, will continue to hold his appointment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In what has been a series of years-long, eleventh-hour extensions, the Elbo Room in the Mission has been granted another (temporary) lease on life.\u003c/p>\n\u003cp>The owners of the Elbo Room, Matt Shapiro and Erik Cantu, announced in a Facebook post Monday that its lease has been extended to the start of 2019.\u003c/p>\n\u003cp>https://www.facebook.com/elbo.room.9/posts/1977027962624148\u003c/p>\n\u003cp>Property owners Susan and Dennis Ring have been working to tear down the bar and entertainment venue since 2014, and in its place, build a nine-unit condominium in which they could reside. But after pushback from community members, the Rings’ development proposal has shifted.\u003c/p>\n\u003cp>Rather than demolish the current structure, the latest proposal states that the couple would have built three additional floors atop the current two-floor space to make a seven-unit condominium with a potential retail or restaurant space in the first floor. \u003ca href=\"https://hoodline.com/2017/07/elbo-room-extends-lease-until-january-2019\" target=\"_blank\" rel=\"noopener\">According to Hoodline,\u003c/a> however, the Ring couple has yet to obtain a building permit for the proposed residency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last lease extension, which granted the Mission nightlife haunt permission to stay in their current space on 647 Valencia St., was granted in December 2015.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In what has been a series of years-long, eleventh-hour extensions, the Elbo Room in the Mission has been granted another (temporary) lease on life.\u003c/p>\n\u003cp>The owners of the Elbo Room, Matt Shapiro and Erik Cantu, announced in a Facebook post Monday that its lease has been extended to the start of 2019.\u003c/p>\n\u003cp>https://www.facebook.com/elbo.room.9/posts/1977027962624148\u003c/p>\n\u003cp>Property owners Susan and Dennis Ring have been working to tear down the bar and entertainment venue since 2014, and in its place, build a nine-unit condominium in which they could reside. But after pushback from community members, the Rings’ development proposal has shifted.\u003c/p>\n\u003cp>Rather than demolish the current structure, the latest proposal states that the couple would have built three additional floors atop the current two-floor space to make a seven-unit condominium with a potential retail or restaurant space in the first floor. \u003ca href=\"https://hoodline.com/2017/07/elbo-room-extends-lease-until-january-2019\" target=\"_blank\" rel=\"noopener\">According to Hoodline,\u003c/a> however, the Ring couple has yet to obtain a building permit for the proposed residency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Ghost Ship Victims Live On in ‘Requiem Without Words’ | KQED",
"content": "\u003cp>Last December’s Ghost Ship warehouse fire covered the Bay Area with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/04/it-could-have-been-any-one-of-us/\" target=\"_blank\" rel=\"noopener noreferrer\">grief\u003c/a>. But the fierce unity that grew in its wake forged a sense of community, and inspired composer and Pittsburg resident Arturo Rodriguez to create a requiem mass to honor the 36 victims who died in the blaze and reflect on the resilience of Oakland’s creative life. “I thought of it more as a noble statement to them than a sad one,” Rodriguez says.\u003c/p>\n\u003cp>A section of Rodriguez’s new \u003cem>Requiem Sinfonica (Requiem Without Words)\u003c/em> premiered at \u003ca href=\"http://www.awesomeorchestra.org/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Awesome Orchestra Collective\u003c/a>’s open session outside the Oakland Public Library Tuesday evening. While traditional requiems — masses for the dead — are usually composed with giant choirs, Rodriguez says the voiceless, instrument-only tribute serves as a poignant reminder of the lives lost seven months ago.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcr/2017/08/00127963.mp3\" title=\"Ghost Ship Victims Live On in 'Requiem Without Words'\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/awesomedavid-1920x1152.jpg\"]\u003c/p>\n\u003cp>“These people’s voices aren’t going to be heard again,” Rodriguez, 31, says. “I wanted the piece to be an emotional connection to the music rather than the words.”\u003c/p>\n\u003cp>The composition, which has been in production since mid-January, came to fruition with the help of the Awesöme Orchestra collective, in which Rodriguez plays the flute. The collective’s various connections to victims and survivors of the Ghost Ship fire and its own inception in a West Oakland warehouse makes the collaboration all the more poignant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/-LXlttwHgKc\u003c/p>\n\u003cp>“These people are part of our extended musical family,” says Awesome Orchestra’s founding director and conductor David Möschler. “We owe it to them to continue to perform and hold up the ideals of the warehouse community.”\u003c/p>\n\u003cp>The piece brought up different emotions in the people who gathered outside Oakland Public Library to listen.\u003c/p>\n\u003cp>“You can’t help but remember the fact that folks in the Ghost Ship that night were there for community and music and making art,” says San Francisco artist Isaac Amala, who lost a friend to the Ghost Ship fire. “Feeling and hearing the spirit of community and musicians coming together was really beautiful.”\u003c/p>\n\u003cp>For designer and Oakland resident Alyssa Young, who also lost friends in the fire, the music brought up painful memories.\u003c/p>\n\u003cfigure id=\"attachment_13794214\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/feature.jpg\" alt=\"David Moschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">David Möschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I certainly had a lot of mental images of the walls burning, especially of the very rickety staircase falling, which was what trapped a lot of people up on the second floor,” Young says. “I guess it’s a little bit of self-torture in a way, like discomfort.”\u003c/p>\n\u003cp>Young believes that Rodriguez’s piece can also serve as an impetus for renewed support for \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/artists-and-makers-lose-another-east-bay-warehouse-space/\" target=\"_blank\" rel=\"noopener noreferrer\">vulnerable communities\u003c/a> living and working in spaces like the Ghost Ship.\u003c/p>\n\u003cp>“There’s obviously people who are still hurting, now that the general public interest has died down,” Young says. “I think now is the time to really be making inquiries — now’s really the time to offer the support.”\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/08/GhostShipRequiem1.mp3\" title=\"Requiem Sinfonica (Requiem Without Words)\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/feature.jpg\"]\u003c/p>\n\u003cp>The audience heard only the opening movement from the work on Tuesday night; Rodriguez and Möschler are planning a full performance at the end of the year. But Rodriguez hopes the preview reminds audiences of the sense of togetherness found in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>“In musical terms the piece starts out in a really sad key — E minor — and it ends in E minor, but it has this motion in it of determination,” he says. “Ultimately I want people to be brought together by this music.”\u003c/p>\n\u003cfigure id=\"attachment_13794216\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794216\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/audience.jpg\" alt=\"An audience member looks on as the Awesome Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">An audience member looks on as the Awesöme Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library. \u003ccite>(Photo: Creo Noveno/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",
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"excerpt": "A new requiem mass by composer Arturo Rodriguez honoring victims of the Oakland Warehouse fire received its first public airing in Oakland Tuesday night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last December’s Ghost Ship warehouse fire covered the Bay Area with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/04/it-could-have-been-any-one-of-us/\" target=\"_blank\" rel=\"noopener noreferrer\">grief\u003c/a>. But the fierce unity that grew in its wake forged a sense of community, and inspired composer and Pittsburg resident Arturo Rodriguez to create a requiem mass to honor the 36 victims who died in the blaze and reflect on the resilience of Oakland’s creative life. “I thought of it more as a noble statement to them than a sad one,” Rodriguez says.\u003c/p>\n\u003cp>A section of Rodriguez’s new \u003cem>Requiem Sinfonica (Requiem Without Words)\u003c/em> premiered at \u003ca href=\"http://www.awesomeorchestra.org/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Awesome Orchestra Collective\u003c/a>’s open session outside the Oakland Public Library Tuesday evening. While traditional requiems — masses for the dead — are usually composed with giant choirs, Rodriguez says the voiceless, instrument-only tribute serves as a poignant reminder of the lives lost seven months ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These people’s voices aren’t going to be heard again,” Rodriguez, 31, says. “I wanted the piece to be an emotional connection to the music rather than the words.”\u003c/p>\n\u003cp>The composition, which has been in production since mid-January, came to fruition with the help of the Awesöme Orchestra collective, in which Rodriguez plays the flute. The collective’s various connections to victims and survivors of the Ghost Ship fire and its own inception in a West Oakland warehouse makes the collaboration all the more poignant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/-LXlttwHgKc'\n title='//www.youtube.com/embed/-LXlttwHgKc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“These people are part of our extended musical family,” says Awesome Orchestra’s founding director and conductor David Möschler. “We owe it to them to continue to perform and hold up the ideals of the warehouse community.”\u003c/p>\n\u003cp>The piece brought up different emotions in the people who gathered outside Oakland Public Library to listen.\u003c/p>\n\u003cp>“You can’t help but remember the fact that folks in the Ghost Ship that night were there for community and music and making art,” says San Francisco artist Isaac Amala, who lost a friend to the Ghost Ship fire. “Feeling and hearing the spirit of community and musicians coming together was really beautiful.”\u003c/p>\n\u003cp>For designer and Oakland resident Alyssa Young, who also lost friends in the fire, the music brought up painful memories.\u003c/p>\n\u003cfigure id=\"attachment_13794214\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/feature.jpg\" alt=\"David Moschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">David Möschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I certainly had a lot of mental images of the walls burning, especially of the very rickety staircase falling, which was what trapped a lot of people up on the second floor,” Young says. “I guess it’s a little bit of self-torture in a way, like discomfort.”\u003c/p>\n\u003cp>Young believes that Rodriguez’s piece can also serve as an impetus for renewed support for \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/artists-and-makers-lose-another-east-bay-warehouse-space/\" target=\"_blank\" rel=\"noopener noreferrer\">vulnerable communities\u003c/a> living and working in spaces like the Ghost Ship.\u003c/p>\n\u003cp>“There’s obviously people who are still hurting, now that the general public interest has died down,” Young says. “I think now is the time to really be making inquiries — now’s really the time to offer the support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The audience heard only the opening movement from the work on Tuesday night; Rodriguez and Möschler are planning a full performance at the end of the year. But Rodriguez hopes the preview reminds audiences of the sense of togetherness found in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>“In musical terms the piece starts out in a really sad key — E minor — and it ends in E minor, but it has this motion in it of determination,” he says. “Ultimately I want people to be brought together by this music.”\u003c/p>\n\u003cfigure id=\"attachment_13794216\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794216\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/audience.jpg\" alt=\"An audience member looks on as the Awesome Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">An audience member looks on as the Awesöme Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library. \u003ccite>(Photo: Creo Noveno/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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"title": "New Bill Calling for Transparency in Music is Surprisingly Opaque",
"headTitle": "New Bill Calling for Transparency in Music is Surprisingly Opaque | KQED",
"content": "\u003cp>It’s accurate, but not entirely helpful, when thinking about the business of music to imagine in your mind a tangled knot about the size of an elephant. The free ends, rope made up of different gauges and materials, trail out from its center, resembling an asterisk. Holding each is a representative from one of the industry’s many stakeholders — record labels and publishing companies, legislators and record store owners, tech companies and non-profit advocates. Oh, and artists too. With uneven strength, they all pull at all times, a never-ending game of tug of war with each other and with the knot, which grows ever tighter. Its circuity is, for some involved, not a bug but a feature — what’s called informational asymmetry. To others this density keeps them from a comprehensive understanding of their own business. If the knot were untied, many would benefit. Some others wouldn’t.\u003c/p>\n\u003cp>Recently, Republican congressman Jim Sensenbrenner of Wisconsin picked up an unattended end of this squiggle, unveiling his “Transparency in Music Licensing and Ownership Act.” Rep. Sensenbrenner’s \u003ca href=\"https://artistrightswatchdotcom.files.wordpress.com/2017/07/sensen_034_xml.pdf\" target=\"_blank\" rel=\"noopener\">new bill\u003c/a> is ambitious.\u003c/p>\n\u003cp>Sensenbrenner, who sits on the House Judiciary Committee — through which he has conducted (by his own account) 20 hearings on copyright reform — is calling for the establishment of a comprehensive database of compositions and recordings and those works’ owners and identification numbers. It’s a project that has been attempted at least once before, and which failed spectacularly due to the competing interests involved in its creation, as well as its significant cost, which no one has been inclined to shoulder. What’s more, this database will be free and public.\u003c/p>\n\u003cp>The lack of a central repository for this information has resulted in many legal and public-relations confrontations over the years, most recently two lawsuits \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/21/538501163/spotify-sued-yet-again-over-compositions\" target=\"_blank\" rel=\"noopener\">against Spotify\u003c/a> that accuse it of failing to properly license the rights for and of failing to create a system that could intake those rights were it notified of them. (The company \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\" target=\"_blank\" rel=\"noopener\">settled\u003c/a> one class action suit over the same issue recently.) That word “central” is important — this information is out there, but diffused among its owners, some of whom consider this data a trade secret. Rep. Sensenbrenner’s bill would create the database Spotify failed to, at no cost to it.\u003c/p>\n\u003cp>The bill, which we’ll call the Music Transparency Act, was ostensibly written to help businesses like bars and restaurants have clarity on what they are allowed to play, by giving them a place to see which company controls which artist’s work. However, the availability of this information is not the same thing as the availability to \u003cem>license\u003c/em> this music. To do that — and so to legally play music in certain establishments — a license from a performance rights organization is required. The two leading performance rights organizations in the world are ASCAP and BMI, who jointly control the performance rights of some 90 percent of recorded music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because there is no off switch for music from ASCAP or from BMI on the radio, or on Pandora, or on Spotify, the problem of businesses having to license from \u003cem>all\u003c/em> of the performance rights organizations — because at any moment a song from any one of these organizations could pop up in a shuffle — would still be required.\u003c/p>\n\u003cp>So what does the Music Transparency Act hope to accomplish? In addition to creating this public database, to be administered by the Copyright Office, the bill also places the responsibility of its data collection on songwriters and music publishers, the companies which help manage the business of song compositions for songwriters. (Compositions are not recordings, but the music \u003cem>underneath\u003c/em> those recordings.) If they don’t register appropriately, then the legal recourse they have against people who use their work without permission — like Spotify is accused of doing in those two lawsuits — is curtailed.\u003c/p>\n\u003cp>“It’s basically a prophylactic for copyright infringement,” says Lisa Alter, an attorney who has worked on music copyright on behalf of artists for more than two decades, over the phone with NPR. “It puts the whole burden on the creators … It’s very cloak and dagger.” Alter also was curious as to who would bankroll such a massive technological project — when asked about its funding, a spokesperson for Rep. Sensenbrenner emailed that registrants would pay to file with the Copyright Office in order to finance it.\u003c/p>\n\u003cp>If this all sounds intractable, that’s because it kind of is. Remember our elephantine knot? Opinions around the merits of Rep. Sensenbrenner’s bill seem to break down along a fissure between people who create music and those who want to use it.\u003c/p>\n\u003cp>The MIC Coalition, a lobbying group that represents businesses who use music, \u003ca href=\"http://mic-coalition.org/news-posts/transparency-music-licensing-ownership-act-promotes-vibrant-music-licensing-marketplace/\" target=\"_blank\" rel=\"noopener\">voiced\u003c/a> its “enthusiastic” support of the bill the same day Rep. Sensenbrenner \u003ca href=\"https://sensenbrenner.house.gov/press-releases-statements?ID=F3B8D172-50CA-4F24-A2ED-159A55BD79EE\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it. \u003cem>[Disclosure: NPR was an early member of the MIC Coalition, \u003c/em>\u003ca href=\"http://www.billboard.com/articles/business/6633536/npr-follows-amazon-in-withdrawing-from-mic-coalition\" target=\"_blank\" rel=\"noopener\">\u003cem>before exiting\u003c/em>\u003c/a>\u003cem> about six months after its formation.]\u003c/em>\u003c/p>\n\u003cp>“A common-sense solution to a systemic problem in the music industry,” Spotify’s general counsel \u003ca href=\"https://twitter.com/horaciog/status/888472599633707008\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> the following day.\u003c/p>\n\u003cp>“Utter bulls***,” \u003ca href=\"https://thetrichordist.com/2017/07/30/heres-how-you-know-mic-coalition-shiv-act-is-about-screwing-songwriters-not-transparency/amp/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> David Lowery, a songwriter who regularly criticizes technology companies’ treatment of songwriters.\u003c/p>\n\u003cp>“I don’t believe it is burdensome on creators and rights holders,” Sasha Moss, technology policy manager with R Street, a Washington think tank that promotes “free markets and limited, effective government,” wrote in an email to NPR.\u003c/p>\n\u003cp>“We’re supportive of more transparency generally, but the devil’s in the details,” Kevin Erickson, national organizing director of the Future of Music Coalition, a Washington-based organization that works on artist pay and industry transparency, told NPR. “This bill leaves us with too many questions to be able to endorse at this time.”\u003c/p>\n\u003cp>The National Association of Broadcasters, which lobbies on behalf of radio stations and television broadcasters, is “in the yes column” on the bill, said Dennis Wharton, the group’s spokesperson.\u003c/p>\n\u003cp>Not to be outdone, ASCAP and BMI announced last week that, after decades of competition, they would be combining their separate databases, a first step to creating the same thing Rep. Sensenbrenner’s bill calls for. (ASCAP and BMI’s announcement was, it would appear, pushed up after Rep. Sensenbrenner revealed his bill — the pair state the project has been in the works for a year and won’t be available for use until the end of 2018.)\u003c/p>\n\u003cp>“I’ve seen efforts like this around the world fail time and time again,” Mike O’Neill, president and CEO of BMI, tells NPR, referring to Rep. Sensenbrenner’s proposal, “because they try to get to the finished product from day one, instead of a solution that would \u003cem>lead\u003c/em> to a finished product.”\u003c/p>\n\u003cp>Sensenbrenner responded quickly to ASCAP and BMI’s announcement, writing in \u003ca href=\"https://sensenbrenner.house.gov/2017/7/pros-introduce-incomplete-music-database-to-combat-sensenbrenner-bill\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> that the pair are “grasping at straws; trying to maintain power over a failing process that only serves their interests, not those of the American consumer.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And so the knot tightens. \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+Bill+Calling+For+Transparency+In+Music+Is+Surprisingly+Opaque&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s accurate, but not entirely helpful, when thinking about the business of music to imagine in your mind a tangled knot about the size of an elephant. The free ends, rope made up of different gauges and materials, trail out from its center, resembling an asterisk. Holding each is a representative from one of the industry’s many stakeholders — record labels and publishing companies, legislators and record store owners, tech companies and non-profit advocates. Oh, and artists too. With uneven strength, they all pull at all times, a never-ending game of tug of war with each other and with the knot, which grows ever tighter. Its circuity is, for some involved, not a bug but a feature — what’s called informational asymmetry. To others this density keeps them from a comprehensive understanding of their own business. If the knot were untied, many would benefit. Some others wouldn’t.\u003c/p>\n\u003cp>Recently, Republican congressman Jim Sensenbrenner of Wisconsin picked up an unattended end of this squiggle, unveiling his “Transparency in Music Licensing and Ownership Act.” Rep. Sensenbrenner’s \u003ca href=\"https://artistrightswatchdotcom.files.wordpress.com/2017/07/sensen_034_xml.pdf\" target=\"_blank\" rel=\"noopener\">new bill\u003c/a> is ambitious.\u003c/p>\n\u003cp>Sensenbrenner, who sits on the House Judiciary Committee — through which he has conducted (by his own account) 20 hearings on copyright reform — is calling for the establishment of a comprehensive database of compositions and recordings and those works’ owners and identification numbers. It’s a project that has been attempted at least once before, and which failed spectacularly due to the competing interests involved in its creation, as well as its significant cost, which no one has been inclined to shoulder. What’s more, this database will be free and public.\u003c/p>\n\u003cp>The lack of a central repository for this information has resulted in many legal and public-relations confrontations over the years, most recently two lawsuits \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/21/538501163/spotify-sued-yet-again-over-compositions\" target=\"_blank\" rel=\"noopener\">against Spotify\u003c/a> that accuse it of failing to properly license the rights for and of failing to create a system that could intake those rights were it notified of them. (The company \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\" target=\"_blank\" rel=\"noopener\">settled\u003c/a> one class action suit over the same issue recently.) That word “central” is important — this information is out there, but diffused among its owners, some of whom consider this data a trade secret. Rep. Sensenbrenner’s bill would create the database Spotify failed to, at no cost to it.\u003c/p>\n\u003cp>The bill, which we’ll call the Music Transparency Act, was ostensibly written to help businesses like bars and restaurants have clarity on what they are allowed to play, by giving them a place to see which company controls which artist’s work. However, the availability of this information is not the same thing as the availability to \u003cem>license\u003c/em> this music. To do that — and so to legally play music in certain establishments — a license from a performance rights organization is required. The two leading performance rights organizations in the world are ASCAP and BMI, who jointly control the performance rights of some 90 percent of recorded music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because there is no off switch for music from ASCAP or from BMI on the radio, or on Pandora, or on Spotify, the problem of businesses having to license from \u003cem>all\u003c/em> of the performance rights organizations — because at any moment a song from any one of these organizations could pop up in a shuffle — would still be required.\u003c/p>\n\u003cp>So what does the Music Transparency Act hope to accomplish? In addition to creating this public database, to be administered by the Copyright Office, the bill also places the responsibility of its data collection on songwriters and music publishers, the companies which help manage the business of song compositions for songwriters. (Compositions are not recordings, but the music \u003cem>underneath\u003c/em> those recordings.) If they don’t register appropriately, then the legal recourse they have against people who use their work without permission — like Spotify is accused of doing in those two lawsuits — is curtailed.\u003c/p>\n\u003cp>“It’s basically a prophylactic for copyright infringement,” says Lisa Alter, an attorney who has worked on music copyright on behalf of artists for more than two decades, over the phone with NPR. “It puts the whole burden on the creators … It’s very cloak and dagger.” Alter also was curious as to who would bankroll such a massive technological project — when asked about its funding, a spokesperson for Rep. Sensenbrenner emailed that registrants would pay to file with the Copyright Office in order to finance it.\u003c/p>\n\u003cp>If this all sounds intractable, that’s because it kind of is. Remember our elephantine knot? Opinions around the merits of Rep. Sensenbrenner’s bill seem to break down along a fissure between people who create music and those who want to use it.\u003c/p>\n\u003cp>The MIC Coalition, a lobbying group that represents businesses who use music, \u003ca href=\"http://mic-coalition.org/news-posts/transparency-music-licensing-ownership-act-promotes-vibrant-music-licensing-marketplace/\" target=\"_blank\" rel=\"noopener\">voiced\u003c/a> its “enthusiastic” support of the bill the same day Rep. Sensenbrenner \u003ca href=\"https://sensenbrenner.house.gov/press-releases-statements?ID=F3B8D172-50CA-4F24-A2ED-159A55BD79EE\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it. \u003cem>[Disclosure: NPR was an early member of the MIC Coalition, \u003c/em>\u003ca href=\"http://www.billboard.com/articles/business/6633536/npr-follows-amazon-in-withdrawing-from-mic-coalition\" target=\"_blank\" rel=\"noopener\">\u003cem>before exiting\u003c/em>\u003c/a>\u003cem> about six months after its formation.]\u003c/em>\u003c/p>\n\u003cp>“A common-sense solution to a systemic problem in the music industry,” Spotify’s general counsel \u003ca href=\"https://twitter.com/horaciog/status/888472599633707008\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> the following day.\u003c/p>\n\u003cp>“Utter bulls***,” \u003ca href=\"https://thetrichordist.com/2017/07/30/heres-how-you-know-mic-coalition-shiv-act-is-about-screwing-songwriters-not-transparency/amp/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> David Lowery, a songwriter who regularly criticizes technology companies’ treatment of songwriters.\u003c/p>\n\u003cp>“I don’t believe it is burdensome on creators and rights holders,” Sasha Moss, technology policy manager with R Street, a Washington think tank that promotes “free markets and limited, effective government,” wrote in an email to NPR.\u003c/p>\n\u003cp>“We’re supportive of more transparency generally, but the devil’s in the details,” Kevin Erickson, national organizing director of the Future of Music Coalition, a Washington-based organization that works on artist pay and industry transparency, told NPR. “This bill leaves us with too many questions to be able to endorse at this time.”\u003c/p>\n\u003cp>The National Association of Broadcasters, which lobbies on behalf of radio stations and television broadcasters, is “in the yes column” on the bill, said Dennis Wharton, the group’s spokesperson.\u003c/p>\n\u003cp>Not to be outdone, ASCAP and BMI announced last week that, after decades of competition, they would be combining their separate databases, a first step to creating the same thing Rep. Sensenbrenner’s bill calls for. (ASCAP and BMI’s announcement was, it would appear, pushed up after Rep. Sensenbrenner revealed his bill — the pair state the project has been in the works for a year and won’t be available for use until the end of 2018.)\u003c/p>\n\u003cp>“I’ve seen efforts like this around the world fail time and time again,” Mike O’Neill, president and CEO of BMI, tells NPR, referring to Rep. Sensenbrenner’s proposal, “because they try to get to the finished product from day one, instead of a solution that would \u003cem>lead\u003c/em> to a finished product.”\u003c/p>\n\u003cp>Sensenbrenner responded quickly to ASCAP and BMI’s announcement, writing in \u003ca href=\"https://sensenbrenner.house.gov/2017/7/pros-introduce-incomplete-music-database-to-combat-sensenbrenner-bill\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> that the pair are “grasping at straws; trying to maintain power over a failing process that only serves their interests, not those of the American consumer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so the knot tightens. \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+Bill+Calling+For+Transparency+In+Music+Is+Surprisingly+Opaque&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Sam Shepard Meant to the Bay Area",
"headTitle": "What Sam Shepard Meant to the Bay Area | KQED",
"content": "\u003cp>In a world drowning in celebrity, the news of Sam Shepard’s death from amyotrophic lateral sclerosis\u003cem> (\u003c/em>ALS) is a shock of the old kind: A powerful and elusive presence has vanished. It’s the type of disappearance Shepard captured with élan not just in his plays, but also with his striking, affectless acting and even in the way he carried himself through and along the edges of a culture increasingly dedicated to fame as a weapon and commodity.\u003c/p>\n\u003cp>It’s true that Shepard was showered with the type of accolades people pay attention to — a Pulitzer Prize, in 1979, for his play \u003cem>Buried Child\u003c/em>, an Oscar nomination for Phillip Kaufman’s epic history movie \u003cem>The Right Stuff\u003c/em> (1983), and a long relationship with a real Hollywood star, Jessica Lange. Yet these noteworthy accomplishments barely capture the force of his art and influence, especially in the Bay Area of the late 1970s and early ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13783049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13783049\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg\" alt='Sam Shepard recites a short story at \"Toil and Trouble . . Stories of Experiments Gone Wrong\" at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepard recites a short story at “Toil and Trouble . . Stories of Experiments Gone Wrong” at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. \u003ccite>(Photo: Amy Sussman/Getty Images for World Science Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Shepard became the playwright-in-residence at the Magic Theatre in 1975, he had written almost 30 plays. Without directly chronicling the Summer of Love generation, say in the way \u003cem>Hair \u003c/em>(1967), \u003cem>Godspell\u003c/em> (1970), and \u003cem>Jesus Christ Superstar\u003c/em> (1970) would attempt, Shepard’s early work captures the dislocation, societal upheaval, and jazzy, jagged rhythms of an America in revolt against itself.\u003c/p>\n\u003cp>Those qualities made many of his plays such as \u003cem>Icarus’s Mother\u003c/em> (1965), \u003cem>The Unseen Hand\u003c/em> (1969), \u003cem>Cowboy Mouth\u003c/em> (co-written with then girlfriend Patti Smith, 1971), \u003cem>The Tooth of the Crime\u003c/em> (1972), and \u003cem>Action\u003c/em> (1975) seem like documentaries of the Manson family’s early years. To the mainstream and even avant-garde theatrical establishment, Shepard was barely writing plays. Instead, he was creating theatrical events that more closely resembled the force of music.\u003c/p>\n\u003cfigure id=\"attachment_13783057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13783057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg\" alt=\"(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit.jpg 832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion. \u003ccite>(Photo: Courtesy of Magic Theatre Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question was, where was Shepard heading? The answer was west, and to a slightly different aesthetic — one that would reimagine what realism might be after the revolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To say that Shepard’s Magic Theatre world premieres were significant is a vast understatement. Without losing any of its edge or inventiveness, his work mutated from experimental and oppositional to simply present. He wasn’t an outsider anymore; he was the eye of the storm.\u003c/p>\n\u003cp>Bay Area audiences were the first to see \u003cem>Buried Child\u003c/em>, \u003cem>True West\u003c/em> (1980) and \u003cem>Fool for Love\u003c/em> (1983), along with \u003cem>Action\u003c/em>, \u003cem>Angel City\u003c/em> (1976) and his collaboration with director Joseph Chaikin, \u003cem>Tongues\u003c/em> (1978\u003cem>)\u003c/em>. This bounty secured the Magic’s national reputation as a playwright’s theater of true importance.\u003c/p>\n\u003cp>Of course, this type of fact is the stuff of testimonial. Look at the work, we say. Look at all the good that was done. It’s an appropriate way to celebrate the dead, though I’m not sure it quite works for Shepard.\u003c/p>\n\u003cfigure id=\"attachment_13783043\" class=\"wp-caption aligncenter\" style=\"max-width: 669px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13783043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png\" alt=\"Ed Harris and Dennis Ludlow in the original production of 'Fool for Love' at the Magic Theatre.\" width=\"669\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png 669w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-520x292.png 520w\" sizes=\"(max-width: 669px) 100vw, 669px\">\u003cfigcaption class=\"wp-caption-text\">Ed Harris and Dennis Ludlow in the original production of ‘Fool for Love’ at the Magic Theatre. \u003ccite>(Photo: Courtesy of the Magic Theatre archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was strange about this artist’s achievements was how electric and transforming they were. Shepard’s work and presence imbued the Bay Area with a desire for significant theater — and so it wasn’t just the Magic that flourished, but also the Berkeley Stage, the Eureka Theatre, the Julian Theater, and a host of other experimental groups that picked up on, responded to, and took on his shifty, off-beat challenges (in part, that they too might command the center of the national stage, or at least Shepard made it all seem possible).\u003c/p>\n\u003cp>Sam Shepard was a great playwright whose plays are a product not of the times, or institutions, but of a vision. And visions are rare. They don’t come because we want them to, or because there’s a grant for them, or because we create the proper organization. They come because some people feel the world with more intensity, and follow the stars before them to wherever they might lead. And in turn, we follow them with an equal intensity, and suffer a real loss when they’re no longer around to show the way.\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 Pulitzer-winning, Oscar-nominated artist's noteworthy accomplishments barely capture the force of his art and influence, especially in the Bay Area of the late 1970s and early '80s.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a world drowning in celebrity, the news of Sam Shepard’s death from amyotrophic lateral sclerosis\u003cem> (\u003c/em>ALS) is a shock of the old kind: A powerful and elusive presence has vanished. It’s the type of disappearance Shepard captured with élan not just in his plays, but also with his striking, affectless acting and even in the way he carried himself through and along the edges of a culture increasingly dedicated to fame as a weapon and commodity.\u003c/p>\n\u003cp>It’s true that Shepard was showered with the type of accolades people pay attention to — a Pulitzer Prize, in 1979, for his play \u003cem>Buried Child\u003c/em>, an Oscar nomination for Phillip Kaufman’s epic history movie \u003cem>The Right Stuff\u003c/em> (1983), and a long relationship with a real Hollywood star, Jessica Lange. Yet these noteworthy accomplishments barely capture the force of his art and influence, especially in the Bay Area of the late 1970s and early ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13783049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13783049\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg\" alt='Sam Shepard recites a short story at \"Toil and Trouble . . Stories of Experiments Gone Wrong\" at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepard recites a short story at “Toil and Trouble . . Stories of Experiments Gone Wrong” at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. \u003ccite>(Photo: Amy Sussman/Getty Images for World Science Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Shepard became the playwright-in-residence at the Magic Theatre in 1975, he had written almost 30 plays. Without directly chronicling the Summer of Love generation, say in the way \u003cem>Hair \u003c/em>(1967), \u003cem>Godspell\u003c/em> (1970), and \u003cem>Jesus Christ Superstar\u003c/em> (1970) would attempt, Shepard’s early work captures the dislocation, societal upheaval, and jazzy, jagged rhythms of an America in revolt against itself.\u003c/p>\n\u003cp>Those qualities made many of his plays such as \u003cem>Icarus’s Mother\u003c/em> (1965), \u003cem>The Unseen Hand\u003c/em> (1969), \u003cem>Cowboy Mouth\u003c/em> (co-written with then girlfriend Patti Smith, 1971), \u003cem>The Tooth of the Crime\u003c/em> (1972), and \u003cem>Action\u003c/em> (1975) seem like documentaries of the Manson family’s early years. To the mainstream and even avant-garde theatrical establishment, Shepard was barely writing plays. Instead, he was creating theatrical events that more closely resembled the force of music.\u003c/p>\n\u003cfigure id=\"attachment_13783057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13783057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg\" alt=\"(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit.jpg 832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion. \u003ccite>(Photo: Courtesy of Magic Theatre Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question was, where was Shepard heading? The answer was west, and to a slightly different aesthetic — one that would reimagine what realism might be after the revolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To say that Shepard’s Magic Theatre world premieres were significant is a vast understatement. Without losing any of its edge or inventiveness, his work mutated from experimental and oppositional to simply present. He wasn’t an outsider anymore; he was the eye of the storm.\u003c/p>\n\u003cp>Bay Area audiences were the first to see \u003cem>Buried Child\u003c/em>, \u003cem>True West\u003c/em> (1980) and \u003cem>Fool for Love\u003c/em> (1983), along with \u003cem>Action\u003c/em>, \u003cem>Angel City\u003c/em> (1976) and his collaboration with director Joseph Chaikin, \u003cem>Tongues\u003c/em> (1978\u003cem>)\u003c/em>. This bounty secured the Magic’s national reputation as a playwright’s theater of true importance.\u003c/p>\n\u003cp>Of course, this type of fact is the stuff of testimonial. Look at the work, we say. Look at all the good that was done. It’s an appropriate way to celebrate the dead, though I’m not sure it quite works for Shepard.\u003c/p>\n\u003cfigure id=\"attachment_13783043\" class=\"wp-caption aligncenter\" style=\"max-width: 669px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13783043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png\" alt=\"Ed Harris and Dennis Ludlow in the original production of 'Fool for Love' at the Magic Theatre.\" width=\"669\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png 669w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-520x292.png 520w\" sizes=\"(max-width: 669px) 100vw, 669px\">\u003cfigcaption class=\"wp-caption-text\">Ed Harris and Dennis Ludlow in the original production of ‘Fool for Love’ at the Magic Theatre. \u003ccite>(Photo: Courtesy of the Magic Theatre archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was strange about this artist’s achievements was how electric and transforming they were. Shepard’s work and presence imbued the Bay Area with a desire for significant theater — and so it wasn’t just the Magic that flourished, but also the Berkeley Stage, the Eureka Theatre, the Julian Theater, and a host of other experimental groups that picked up on, responded to, and took on his shifty, off-beat challenges (in part, that they too might command the center of the national stage, or at least Shepard made it all seem possible).\u003c/p>\n\u003cp>Sam Shepard was a great playwright whose plays are a product not of the times, or institutions, but of a vision. And visions are rare. They don’t come because we want them to, or because there’s a grant for them, or because we create the proper organization. They come because some people feel the world with more intensity, and follow the stars before them to wherever they might lead. And in turn, we follow them with an equal intensity, and suffer a real loss when they’re no longer around to show the way.\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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"title": "Ebony McKinney, Tireless Advocate for the Arts, Dies Unexpectedly",
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"content": "\u003cp>Ebony McKinney, a tireless advocate for the arts who pushed for diversity in the community and for unity among local organizations, died unexpectedly on Saturday from complications related to pneumonia and lupus. She was 41.\u003c/p>\n\u003cp>The San Francisco Art Commission (\u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFAC\u003c/a>), where McKinney has worked off-and-on since 2005, announced McKinney’s passing in a statement released Monday afternoon.\u003c/p>\n\u003cp>“Ebony was a beloved leader in the Bay Area and national arts communities and we appreciate the outpouring of love and support from friends and colleagues,” SFAC’s Director of Cultural Affairs, Tom DeCaigny, wrote. “This is a shock for all of us.”\u003c/p>\n\u003cp>McKinney worked for 15 years in the art world, starting at a theater in Pittsburgh before coming to San Francisco in 2005. Here in the Bay Area, she held many positions that found or provided funding for various arts organizations and projects. She also served on the boards of influential organizations and committees, such as the City of Oakland’s Funding Advisory Committee and the Citizens Advisory Committee to Grants for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13783727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13783727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-800x450.png\" alt=\"Ebony McKinney\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ebony McKinney \u003ccite>(Courtesy of Emerging Arts Professionals/SFBA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was an absolute force in the San Francisco arts community. Ebony was a coalition builder, a deeply analytical strategist, and she walked the walk,” arts consultant and friend Marc Vogl said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though she worked enthusiastically on the funding side of the arts world, McKinney’s friends said her legacy will remain with the two organizations she helped start: \u003ca href=\"http://emergingsf.org\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Arts Professionals/San Francisco Bay Area\u003c/a> (EAP/SFBA), a network focused on training the next generation of arts and culture workers; and \u003ca href=\"http://arts4bayarea.nationbuilder.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arts for a Better Bay Area\u003c/a>, also known as ABBA, a coalition of San Francisco arts organizations that works to ensure the city funds the arts.\u003c/p>\n\u003cp>McKinney started EAP/SFBA in 2008 with local composer \u003ca href=\"http://www.emergingsf.org/portfolio-item/6718/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Fong,\u003c/a> who says the idea came up at a focus group hosted by the Hewlett Foundation. The topic was finding new people to fill leadership positions in arts organizations around the Bay Area.\u003c/p>\n\u003cp>“There hadn’t been a concerted effort to prepare young people to work in the arts community,” Fong said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=98cGyA3VgQE\u003c/p>\n\u003cp>McKinney and Fong decided that the diversity of the local community needed to be represented in the next generation of leaders, and they began holding meetings on their own. After hosting two events at SOMArts, an art center in San Francisco’s South of Market neighborhood, EAP/SFBA started a fellowship program in 2010. Since its inception, the program has trained around 100 budding arts professionals, Fong said.\u003c/p>\n\u003cp>In the fall of 2014, McKinney attended an arts symposium where Supervisor Jane Kim told the local arts organizations in attendance that they needed to \u003ca href=\"http://www.sfgate.com/bayarea/article/Big-little-S-F-arts-groups-bury-hatchet-divvy-6295538.php\" target=\"_blank\" rel=\"noopener noreferrer\">present a unified arts budget\u003c/a> in the face of disagreements over the allocation of funds.\u003c/p>\n\u003cp>Once again, McKinney saw an issue she was inspired to fix. She partnered up with Lex Leifheit, the executive director of SOMArts, and together conducted a series of interviews with various city leaders and heads of organizations to find what needed to be done to bring everyone to the table. This lead to the creation of ABBA, which used its clout to lobby the city for more arts funding. The plan worked: San Francisco’s 2015 budget saw a $7 million increase in arts funding, its largest in years.\u003c/p>\n\u003cp>“ABBA wouldn’t have happened without her,” Leifheit said.\u003c/p>\n\u003cp>Leifheit, who now works in San Francisco’s Office of Economic and Workforce Development, said that McKinney was always focused on what needed to be done for the arts in San Francisco. And while she accomplished so much in her short life, she still had more to do when she died.\u003c/p>\n\u003cp>“She was always looking ahead,” Leifheit said. “She never stopped. She was always challenging everyone to be better.”\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\u003cp>\u003cem>The SFAC will be holding an informal get together in honor of McKinney this Thursday, Aug. 3 at SOMArts from 4pm to 7pm. A local memorial is expected to be held at a later date.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The SFAC also adds that in lieu of flowers, donations should be made in Ebony’s honor to the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener noreferrer\">Red Poppy Art House\u003c/a> or \u003ca href=\"http://againstthestream.org\" target=\"_blank\" rel=\"noopener noreferrer\">Against the Stream Buddhist Meditation Society\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ebony McKinney, a tireless advocate for the arts who pushed for diversity in the community and for unity among local organizations, died unexpectedly on Saturday from complications related to pneumonia and lupus. She was 41.\u003c/p>\n\u003cp>The San Francisco Art Commission (\u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFAC\u003c/a>), where McKinney has worked off-and-on since 2005, announced McKinney’s passing in a statement released Monday afternoon.\u003c/p>\n\u003cp>“Ebony was a beloved leader in the Bay Area and national arts communities and we appreciate the outpouring of love and support from friends and colleagues,” SFAC’s Director of Cultural Affairs, Tom DeCaigny, wrote. “This is a shock for all of us.”\u003c/p>\n\u003cp>McKinney worked for 15 years in the art world, starting at a theater in Pittsburgh before coming to San Francisco in 2005. Here in the Bay Area, she held many positions that found or provided funding for various arts organizations and projects. She also served on the boards of influential organizations and committees, such as the City of Oakland’s Funding Advisory Committee and the Citizens Advisory Committee to Grants for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13783727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13783727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-800x450.png\" alt=\"Ebony McKinney\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Ebony-McKinney2-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ebony McKinney \u003ccite>(Courtesy of Emerging Arts Professionals/SFBA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was an absolute force in the San Francisco arts community. Ebony was a coalition builder, a deeply analytical strategist, and she walked the walk,” arts consultant and friend Marc Vogl said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though she worked enthusiastically on the funding side of the arts world, McKinney’s friends said her legacy will remain with the two organizations she helped start: \u003ca href=\"http://emergingsf.org\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Arts Professionals/San Francisco Bay Area\u003c/a> (EAP/SFBA), a network focused on training the next generation of arts and culture workers; and \u003ca href=\"http://arts4bayarea.nationbuilder.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arts for a Better Bay Area\u003c/a>, also known as ABBA, a coalition of San Francisco arts organizations that works to ensure the city funds the arts.\u003c/p>\n\u003cp>McKinney started EAP/SFBA in 2008 with local composer \u003ca href=\"http://www.emergingsf.org/portfolio-item/6718/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Fong,\u003c/a> who says the idea came up at a focus group hosted by the Hewlett Foundation. The topic was finding new people to fill leadership positions in arts organizations around the Bay Area.\u003c/p>\n\u003cp>“There hadn’t been a concerted effort to prepare young people to work in the arts community,” Fong said.\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/98cGyA3VgQE'\n title='//www.youtube.com/embed/98cGyA3VgQE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McKinney and Fong decided that the diversity of the local community needed to be represented in the next generation of leaders, and they began holding meetings on their own. After hosting two events at SOMArts, an art center in San Francisco’s South of Market neighborhood, EAP/SFBA started a fellowship program in 2010. Since its inception, the program has trained around 100 budding arts professionals, Fong said.\u003c/p>\n\u003cp>In the fall of 2014, McKinney attended an arts symposium where Supervisor Jane Kim told the local arts organizations in attendance that they needed to \u003ca href=\"http://www.sfgate.com/bayarea/article/Big-little-S-F-arts-groups-bury-hatchet-divvy-6295538.php\" target=\"_blank\" rel=\"noopener noreferrer\">present a unified arts budget\u003c/a> in the face of disagreements over the allocation of funds.\u003c/p>\n\u003cp>Once again, McKinney saw an issue she was inspired to fix. She partnered up with Lex Leifheit, the executive director of SOMArts, and together conducted a series of interviews with various city leaders and heads of organizations to find what needed to be done to bring everyone to the table. This lead to the creation of ABBA, which used its clout to lobby the city for more arts funding. The plan worked: San Francisco’s 2015 budget saw a $7 million increase in arts funding, its largest in years.\u003c/p>\n\u003cp>“ABBA wouldn’t have happened without her,” Leifheit said.\u003c/p>\n\u003cp>Leifheit, who now works in San Francisco’s Office of Economic and Workforce Development, said that McKinney was always focused on what needed to be done for the arts in San Francisco. And while she accomplished so much in her short life, she still had more to do when she died.\u003c/p>\n\u003cp>“She was always looking ahead,” Leifheit said. “She never stopped. She was always challenging everyone to be better.”\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\u003cp>\u003cem>The SFAC will be holding an informal get together in honor of McKinney this Thursday, Aug. 3 at SOMArts from 4pm to 7pm. A local memorial is expected to be held at a later date.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The SFAC also adds that in lieu of flowers, donations should be made in Ebony’s honor to the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener noreferrer\">Red Poppy Art House\u003c/a> or \u003ca href=\"http://againstthestream.org\" target=\"_blank\" rel=\"noopener noreferrer\">Against the Stream Buddhist Meditation Society\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Turmoil in the Trump Administration\u003c/strong>\u003c/p>\n\u003cp>In signs of continuing turmoil in the Trump administration, the president announced today that he is replacing White House Chief of Staff Reince Priebus with Homeland Security Secretary John Kelly. And in the early hours Friday, the Senate’s latest attempt to dismantle Obamacare failed after three key Republicans voted against it. Earlier this week, President Trump announced via Twitter that he would bar transgender people from serving openly in the United States military.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli> Lisa Garcia Bedolla, UC Berkeley political science professor\u003c/li>\n\u003cli> Joe Garofoli, San Francisco Chronicle senior political writer\u003c/li>\n\u003cli> Sean Walsh, Wilson Walsh Consulting\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>David Chiu Interview\u003c/strong>\u003c/p>\n\u003cp>Gov. Jerry Brown and Democratic leaders say they are turning their attention to the state’s housing crisis when they return from a midsummer recess. California Assemblyman David Chiu (D-San Francisco) discusses the legislation that he’s backing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Artist Sophie Calle\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>French artist Sophie Calle’s new exhibition at the Fort Mason Center for Arts and Culture explores themes of disappearance and loss. Calle has a strong connection to the Bay Area — she got her start in Bolinas, where she recently made the unusual move of buying herself a grave plot. KQED Senior Arts Editor Chloe Veltman caught up with Calle among the gravestones.\u003c/p>\n\n",
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"title": "Sam Shepard, 'Poet Laureate Of America's Emotional Badlands,' Dies at 73",
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"content": "\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/NationalTheatre/status/892060996369567745\u003c/p>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\n\u003cp>https://twitter.com/BeauWillimon/status/892033403196932098\u003c/p>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvX9yPZvFgQ\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=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\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/xvX9yPZvFgQ'\n title='//www.youtube.com/embed/xvX9yPZvFgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "VIDEO: Why French Artist Sophie Calle Bought a Burial Plot in Bolinas",
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"content": "\u003cp>Sophie Calle has been a regular visitor to in the sleepy coastal town of Bolinas ever since she launched her professional career there, producing a series of photographs of gravestones in the late 1970s.\u003c/p>\n\u003cp>Recently, the famous French conceptual artist made the unusual move of buying herself a grave plot in Bolinas cemetery. KQED’s senior arts editor Chloe Veltman caught up with Calle among the gravestones while the 63-year-old artist was in the Bay Area for the opening of a major exhibition of her work at the Fort Mason Center for Arts and Culture in San Francisco.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why French Artist Sophie Calle Bought a Burial Plot in Bolinas\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/5UMUb04U_0g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\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\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Curated by \u003ca href=\"http://arscitizen.org/\">Ars Citizen\u003c/a>, Sophie Calle’s exhibition, \u003ca href=\"https://fortmason.org/event/missing/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing\u003c/em>\u003c/a>, is on view at the Fort Mason Center for Arts and Culture in San Francisco through Sunday, Aug. 20. Entry is free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This segment originally aired on Friday, Jul. 28 on KQED Newsroom. To watch the full show, click \u003ca href=\"https://ww2.kqed.org/news/2017/07/28/turmoil-in-the-trump-administration-david-chiu-interview-artist-sophie-calle/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sophie Calle has been a regular visitor to in the sleepy coastal town of Bolinas ever since she launched her professional career there, producing a series of photographs of gravestones in the late 1970s.\u003c/p>\n\u003cp>Recently, the famous French conceptual artist made the unusual move of buying herself a grave plot in Bolinas cemetery. KQED’s senior arts editor Chloe Veltman caught up with Calle among the gravestones while the 63-year-old artist was in the Bay Area for the opening of a major exhibition of her work at the Fort Mason Center for Arts and Culture in San Francisco.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why French Artist Sophie Calle Bought a Burial Plot in Bolinas\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/5UMUb04U_0g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Curated by \u003ca href=\"http://arscitizen.org/\">Ars Citizen\u003c/a>, Sophie Calle’s exhibition, \u003ca href=\"https://fortmason.org/event/missing/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing\u003c/em>\u003c/a>, is on view at the Fort Mason Center for Arts and Culture in San Francisco through Sunday, Aug. 20. Entry is free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This segment originally aired on Friday, Jul. 28 on KQED Newsroom. To watch the full show, click \u003ca href=\"https://ww2.kqed.org/news/2017/07/28/turmoil-in-the-trump-administration-david-chiu-interview-artist-sophie-calle/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Madcap 'Sit-Com' from Peter Pan's Creator Finally Sees the Light of Day",
"headTitle": "Madcap ‘Sit-Com’ from Peter Pan’s Creator Finally Sees the Light of Day | KQED",
"content": "\u003cp>It has been 80 years since J.M. Barrie died. It has been even longer since Peter Pan’s creator penned \u003cem>The Reconstruction of the Crime\u003c/em> with humorist E.V. Lucas — and yet in all this time, editor Andrew Gulli says the brief play the pair pulled together never glimpsed the stage or even the printed page.\u003c/p>\n\u003cp>That changes this week, as Gulli’s \u003ca href=\"https://strandmag.com/product/strand-magazine-headlines-an-unpublished-j-m-barrie-play-plus-ruth-ware-jo-nesbo-and-charles-todd/\" target=\"_blank\" rel=\"noopener\">The Strand Magazine\u003c/a> has finally published the typescript of the bedroom farce \u003ca href=\"http://www.lib.utexas.edu/taro/uthrc/01088/hrc-01088.html\" target=\"_blank\" rel=\"noopener\">long squirreled away\u003c/a> at the University of Texas’ \u003ca href=\"http://www.hrc.utexas.edu/\" target=\"_blank\" rel=\"noopener\">Harry Ransom Center\u003c/a>.\u003c/p>\n\u003cp>“It could be a short episode in a sit-com,” Gulli tells NPR. “The husband is sick, and he’s asking his wife to get a home remedy for him. The rooms get mixed up, and she ends up going to the room of the wrong person. And the wrong person gets very startled and feels that an attempt has been made upon his life.”\u003c/p>\n\u003cp>In fact, the setup reminds him of another pop culture icon, one you might not readily associate with Peter Pan: \u003cem>Frasier\u003c/em>, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1876357\" target=\"_blank\" rel=\"noopener\">that mainstay of primetime TV comedy\u003c/a>. “It’s just a madcap, good-natured plot.”\u003c/p>\n\u003cp>But — like the 1904 play that introduced Peter Pan, who famously asked the audience to save Tinker Bell by clapping — Barrie’s undated collaboration with Lucas invokes their viewers directly. Only this time, the Scottish playwright asks them to keep quiet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Please don’t applaud,” a character known only as The Victim tells the crowd at the outset, \u003ca href=\"https://www.washingtonpost.com/national/lost-then-found-rare-jm-barrie-play-published-this-week/2017/07/28/b5dd10d4-734e-11e7-8c17-533c52b2f014_story.html?utm_term=.5e6f80da1286\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “Of course I like it; we all like it. But not just now. This is much too serious. The fact is I want to take you into my confidence: to ask your assistance. A horrible crime has been committed. An outrage almost beyond description has been perpetrated upon an inoffensive gentleman staying in a country hotel, and the guilty person has to be found.”\u003c/p>\n\u003cp>But before the play could be published, Gulli says he had to unravel a mystery of mistaken identity in his own right.\u003c/p>\n\u003cp>The magazine had originally slated it to publish in February — but just days before they went to press, he got a phone call from his copy editor telling him another Barrie play, with a very similar name, had been broadcast about a century ago. And it was living at the \u003ca href=\"http://beinecke.library.yale.edu/\" target=\"_blank\" rel=\"noopener\">Beinecke Library at Yale\u003c/a>.\u003c/p>\n\u003cp>\u003cem>That\u003c/em> play’s name? \u003cem>Reconstructing the Crime\u003c/em> — which, you’ll note, sounds a whole lot like \u003cem>The Reconstruction of the Crime\u003c/em>, the play publishing this week. “You’re not going to blame me for thinking, ‘Oh my goodness,’ ” Gulli says.\u003c/p>\n\u003cp>“So at that point, we had to remove [\u003cem>The Reconstruction of the Crime\u003c/em>] from the magazine and tell the illustrator, ‘I’m sorry for all your work on this, but nothing’s going to come of it.’ ”\u003c/p>\n\u003cp>It was only after that February issue published — sans Barrie — that Gulli got his hands on the play they’d stumbled on at Beinecke, which he says Barrie had written alone for charity during World War I. And, remarkably similar titles notwithstanding, Gulli was surprised to find the two plays had just about nothing in common.\u003c/p>\n\u003cp>And so, \u003cem>The Reconstruction of the Crime\u003c/em> lived again.\u003c/p>\n\u003cp>Ultimately, he tells NPR this clever comedy for adults should help lend further context to a career that had far more to it than just Barrie’s classic children’s book character.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The thing about Barrie is we look at him and say, ‘Oh, he was a children’s book author or children’s playwright’ — but he wrote a lot of works that revolved around social justice and works that were dark,” Gulli says. “This is not a guy who’s primarily interested not only in children’s books as much as tackling a lot of social issues.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been 80 years since J.M. Barrie died. It has been even longer since Peter Pan’s creator penned \u003cem>The Reconstruction of the Crime\u003c/em> with humorist E.V. Lucas — and yet in all this time, editor Andrew Gulli says the brief play the pair pulled together never glimpsed the stage or even the printed page.\u003c/p>\n\u003cp>That changes this week, as Gulli’s \u003ca href=\"https://strandmag.com/product/strand-magazine-headlines-an-unpublished-j-m-barrie-play-plus-ruth-ware-jo-nesbo-and-charles-todd/\" target=\"_blank\" rel=\"noopener\">The Strand Magazine\u003c/a> has finally published the typescript of the bedroom farce \u003ca href=\"http://www.lib.utexas.edu/taro/uthrc/01088/hrc-01088.html\" target=\"_blank\" rel=\"noopener\">long squirreled away\u003c/a> at the University of Texas’ \u003ca href=\"http://www.hrc.utexas.edu/\" target=\"_blank\" rel=\"noopener\">Harry Ransom Center\u003c/a>.\u003c/p>\n\u003cp>“It could be a short episode in a sit-com,” Gulli tells NPR. “The husband is sick, and he’s asking his wife to get a home remedy for him. The rooms get mixed up, and she ends up going to the room of the wrong person. And the wrong person gets very startled and feels that an attempt has been made upon his life.”\u003c/p>\n\u003cp>In fact, the setup reminds him of another pop culture icon, one you might not readily associate with Peter Pan: \u003cem>Frasier\u003c/em>, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1876357\" target=\"_blank\" rel=\"noopener\">that mainstay of primetime TV comedy\u003c/a>. “It’s just a madcap, good-natured plot.”\u003c/p>\n\u003cp>But — like the 1904 play that introduced Peter Pan, who famously asked the audience to save Tinker Bell by clapping — Barrie’s undated collaboration with Lucas invokes their viewers directly. Only this time, the Scottish playwright asks them to keep quiet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Please don’t applaud,” a character known only as The Victim tells the crowd at the outset, \u003ca href=\"https://www.washingtonpost.com/national/lost-then-found-rare-jm-barrie-play-published-this-week/2017/07/28/b5dd10d4-734e-11e7-8c17-533c52b2f014_story.html?utm_term=.5e6f80da1286\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “Of course I like it; we all like it. But not just now. This is much too serious. The fact is I want to take you into my confidence: to ask your assistance. A horrible crime has been committed. An outrage almost beyond description has been perpetrated upon an inoffensive gentleman staying in a country hotel, and the guilty person has to be found.”\u003c/p>\n\u003cp>But before the play could be published, Gulli says he had to unravel a mystery of mistaken identity in his own right.\u003c/p>\n\u003cp>The magazine had originally slated it to publish in February — but just days before they went to press, he got a phone call from his copy editor telling him another Barrie play, with a very similar name, had been broadcast about a century ago. And it was living at the \u003ca href=\"http://beinecke.library.yale.edu/\" target=\"_blank\" rel=\"noopener\">Beinecke Library at Yale\u003c/a>.\u003c/p>\n\u003cp>\u003cem>That\u003c/em> play’s name? \u003cem>Reconstructing the Crime\u003c/em> — which, you’ll note, sounds a whole lot like \u003cem>The Reconstruction of the Crime\u003c/em>, the play publishing this week. “You’re not going to blame me for thinking, ‘Oh my goodness,’ ” Gulli says.\u003c/p>\n\u003cp>“So at that point, we had to remove [\u003cem>The Reconstruction of the Crime\u003c/em>] from the magazine and tell the illustrator, ‘I’m sorry for all your work on this, but nothing’s going to come of it.’ ”\u003c/p>\n\u003cp>It was only after that February issue published — sans Barrie — that Gulli got his hands on the play they’d stumbled on at Beinecke, which he says Barrie had written alone for charity during World War I. And, remarkably similar titles notwithstanding, Gulli was surprised to find the two plays had just about nothing in common.\u003c/p>\n\u003cp>And so, \u003cem>The Reconstruction of the Crime\u003c/em> lived again.\u003c/p>\n\u003cp>Ultimately, he tells NPR this clever comedy for adults should help lend further context to a career that had far more to it than just Barrie’s classic children’s book character.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The thing about Barrie is we look at him and say, ‘Oh, he was a children’s book author or children’s playwright’ — but he wrote a lot of works that revolved around social justice and works that were dark,” Gulli says. “This is not a guy who’s primarily interested not only in children’s books as much as tackling a lot of social issues.” \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=Madcap+%27Sit-Com%27+From+Peter+Pan%27s+Creator+Finally+Sees+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "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.",
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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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"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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"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.",
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"possible": {
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"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.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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