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"title": "'Game Of Thrones' Finds Fans Among Disability Rights Activists, Too",
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"content": "\u003cp>One of the main characters on HBO’s hit series, \u003cem>Game of Thrones\u003c/em>, is paralyzed. Another has lost his right hand. We’ve met an important character with a severe skin disorder and another with an intellectual disability.\u003c/p>\n\u003cp>And \u003ca href=\"http://www.imdb.com/name/nm0227759/\" target=\"_blank\" rel=\"noopener\">Peter Dinklage\u003c/a>, the actor who comes first in the credits, is a little person. So is \u003ca href=\"https://www.ncd.gov/newsroom/2013/041613\" target=\"_blank\" rel=\"noopener\">Rebecca Cokley,\u003c/a> executive director of the National Council on Disability. She’s a fan of the show — in part because it’s given average-sized viewers a new set of references for people who look like her.\u003c/p>\n\u003cp>Dinklage’s character, Tyrion Lannister, is complicated, powerful and very sexy.\u003c/p>\n\u003cp>Cokley loved the original \u003cem>Game of Thrones\u003c/em> books by author George R. R. Martin. But she did worry that it would be harder to witness certain scenes on the screen than on the page. In one episode, for example, an evil king humiliates Tyrion by staging a vulgar play with a cast made up exclusively of little people.\u003c/p>\n\u003cp>“When I read that in the book, I had never seen my own experience in life reflected so accurately, so vividly, so viscerally,” Cokley remembers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right after the episode including that scene aired, some of Cokely’s friends who don’t have disabilities called her — to make sure she was OK.\u003c/p>\n\u003cfigure id=\"attachment_13631469\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg\" alt=\"In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show "does address the size issue, but it doesn't knock you over the head with it," he said.\" width=\"700\" height=\"466\" class=\"size-full wp-image-13631469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-520x346.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show “does address the size issue, but it doesn’t knock you over the head with it,” he said. \u003ccite>(Macall B. Polay/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They were like: ‘\u003cem>Wow, is that really what it’s like?\u003c/em>‘And I was like, ‘\u003cem>Yeah\u003c/em>,’ ” she recalls. “There are days when that’s what it’s like. People see me and get down on their knees and mock how I walk. Or they follow me around the store and take pictures of me.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.thismess.net/p/about-me.html\">David Perry\u003c/a> is another writer and activist for disability rights, and a \u003cem>Game of Thrones\u003c/em> fan; he also happens to hold a doctorate in medieval history. Perry calls the series “medieval-ish.” In a show set before modern medicine, he says, it makes sense to see people with disabilities. “Every human society is, of course, packed with disabled people.”\u003c/p>\n\u003cp>While plenty of \u003cem>Game of Thrones\u003c/em> characters have disabilities, Perry says the show still falls into some traps. Take the young princess scarred by a fictional severe skin disease — “\u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/06/greyscale-the-history-and-diseases-that-inspired-game-of-thrones/\">greyscale\u003c/a>.” Perry says the character’s disability primarily serves to pump up the pathos.\u003c/p>\n\u003cp>“It isn’t really about her,” he points out. “Right? It’s all — \u003cem>this poor, physically disfigured girl who’s so good and pure and smart. Oh no, she’s going to be killed; now we have to be \u003c/em>really\u003cem> upset.\u003c/em> That is the kind of writing I kind of hate.”\u003c/p>\n\u003cp>Perry also takes issue with how quickly a fictional swordsman — Jaime Lannister — who loses one hand learns to fight with the other. Then there’s Bran Stark. Early in the series the character becomes paralyzed, and spends much of the first season being carried by Hodor, the character with intellectual disabilities. Both have mystical powers — an old cliché in disability representation (think of \u003cem>The Green Mile\u003c/em> or \u003cem>The Boy Who Could Fly\u003c/em>.) Some activists are concerned that this season, Bran will be magically cured.\u003c/p>\n\u003cp>“Will Bran learn to fly? Will he learn to shape-shift?” Perry asks. “Is he going to be able to change his body so he’s not paralyzed anymore?”\u003c/p>\n\u003cp>Granted, \u003cem>Game of Thrones\u003c/em> is a fantasy, Perry says. But that sort of transformation isn’t what most wheelchair users are looking for.\u003c/p>\n\u003cp>“You don’t want to learn to fly,” he says dryly. “You want a ramp built into your castle.”\u003c/p>\n\u003cp>Still, Perry admires how the series explores such a wide range of characters with different sorts of bodies and minds. Cokley admires that too; she’s especially effusive about the books’ author, George R. R. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right after the episode including that scene aired, some of Cokely’s friends who don’t have disabilities called her — to make sure she was OK.\u003c/p>\n\u003cfigure id=\"attachment_13631469\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg\" alt=\"In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show "does address the size issue, but it doesn't knock you over the head with it," he said.\" width=\"700\" height=\"466\" class=\"size-full wp-image-13631469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-520x346.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show “does address the size issue, but it doesn’t knock you over the head with it,” he said. \u003ccite>(Macall B. 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"content": "\u003cp>Pierre Henry, a true giant of 20th-century musical exploration, died this week at the age of 89, \u003ca href=\"http://www.lemonde.fr/disparitions/article/2017/07/06/le-compositeur-francais-pierre-henry-est-mort_5156693_3382.html\" target=\"_blank\" rel=\"noopener\">as reported by \u003cem>Le Monde\u003c/em>\u003c/a>. The composer began exploring the nascent possibilities of electronic sound in the 1940s.\u003c/p>\n\u003cp>Beginning in 1949, Henry was vital to the development of \u003cem>musique concrète\u003c/em>, a groundbreaking form of music devised in France by Pierre Schaeffer just one year prior, in 1948. Think of \u003cem>musique concrète\u003c/em> as an early form of sampling, using sounds collected from anywhere, from the sound of a bell to a passing train. “The technique of sampling is at the heart of \u003cem>musique concrète\u003c/em>,” Henry \u003ca href=\"https://reader.exacteditions.com/issues/35766/spread/36\" target=\"_blank\" rel=\"noopener\">explained to \u003cem>The Wire\u003c/em> in 1997\u003c/a>. “We invented an alphabet, and today it has become a language.” The language Schaeffer and Henry developed is still spoken in the pop music we hear every day.\u003c/p>\n\u003cp>Back then, synthesizers and samplers as we know them didn’t exist, but there were a few ways to make electronic sounds, using homemade circuits, tone generators or various contraptions. The best-known of these electronic forebears is the theremin, invented in 1919. Tinkerers soon realized that they could “hack” devices that already existed — turntables, radios, reel-to-reel tape machines — to make some of the first electronic music. One could slow down and speed up a tape, loop it, play it backwards or cut it up, leading to worlds of new possibilities.\u003c/p>\n\u003cp>\u003cem>Musique concrète\u003c/em> is known as tape music, but in the early days it was turntable music, too. Messing around with turntables was easier than tape machines, which at the time were finicky and expensive. Henry quickly became “a sort of turntable genius,” as Schaeffer observed in his diary, translated to English in the book\u003cem> In Search Of A Concrete Music\u003c/em>. Henry soon became adept at working with tape machines too, chopping and splicing with skill. Even after synthesizers became widely available, Schaeffer preferred to use his old tools instead of the new ones.\u003c/p>\n\u003cp>“\u003cem>Musique concrète\u003c/em> is about the art of decision,” Henry said in the indispensable documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Zsb1w-3iFa8\" target=\"_blank\" rel=\"noopener\">The Art Of Sounds\u003c/a>\u003c/em>. “It’s the art of choice. You select one sound over another, and that’s where composing begins.” In the hands of artists like Henry, \u003cem>musique concrète\u003c/em> became something exquisite and sophisticated. A key to \u003cem>musique concrète\u003c/em>‘s allure and mystery was that one could “manipulate” the sounds by using various treatments to transform them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Henry was an incredibly prolific composer over the course of his life, even converting his Paris home into a living musical instrument of sorts — a quirky venue and sound installation, packed with collages and antique machines. And Henry didn’t just toil on experimental music in the studio; he was on the pop charts, too. You can still hear traces of Henry on TV; \u003cem>Futurama\u003c/em>‘s theme song is inspired by Henry’s groovy “Psyche-Rock,” made with Michel Colombier, from 1967.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vC1cgcOEErQ\u003c/p>\n\u003cp>Henry was classically trained, studying at the famous Conservatoire in Paris under \u003ca href=\"http://www.npr.org/artists/15162965/olivier-messiaen\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen\u003c/a> and Nadia Boulanger. At the time, Schaeffer predicted that Henry would soon quit the challenges of \u003cem>musique concrète\u003c/em>. “All of the musicians whom until then we had invited to join us had practically run away from a musical undertaking bristling with difficulties and defended by the barbed wire of technique,” Schaeffer wrote in his diary. But Henry refused to back down, wrestling with the machines until they did what he wanted them to. “Pierre Henry had abandoned his kettledrums and was giving all his time to the studio,” Schaeffer marveled. “Within a few months he had acquired skills in manipulation that amazed even sound engineers.”\u003c/p>\n\u003cp>Just as importantly, Henry’s wife, Michèle Henry, was the unsung heroine of the early days of \u003cem>musique concrète.\u003c/em> She capably managed the immense task of cataloging and organizing the thousands and thousands of “sound objects,” or samples, that Schaeffer, Henry and others were creating. \u003c/p>\n\u003cp>Where Schaeffer was cool and cerebral, a theoretician with a background in radio engineering, Henry was wild, a musician prone to impulse and occasional flights of fancy. Henry was trained in percussion and piano, and wanted to make songs at a fast clip. Schaeffer, meanwhile, sought to develop a lofty philosophy of sound.\u003c/p>\n\u003cp>Both were geniuses, and both were stubborn. Without that push-pull dynamic, without the tension between them, \u003cem>musique concrète\u003c/em> as we know it would not exist. Henry helped take that music out of the laboratory and into the world. He wasn’t afraid of commercial success, or of pop music. “For Schaeffer, \u003cem>musique concrète\u003c/em> was like a musical philosophy … for me, I immediately wanted to create works, and what’s more, profitable ones,” recalled Henry in \u003cem>The Art Of Sounds\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpOD7GQbd8Q\u003c/p>\n\u003cp>Henry and Schaeffer collaborated in 1950 on the strange and beautiful \u003cem>Symphonie pour un homme seul \u003c/em>(“Symphony For A Lonely Man,” or “Symphony For A Man Alone”). In 1951, Schaeffer, Henry and the engineer Jacques Poullin were the three forces behind a center called the Groupe de Recherches du Musique Concréte (GRMC). Schaeffer and Henry worked tightly together before acrimoniously parting ways in 1958 (and then befriending each other again, decades later).\u003cem> \u003c/em>“As time passed Schaeffer reproached me with spending too much time on practical applications and not enough on research,” Henry said in 1997, encapsulating the personality divide between them. “But I was more interested in opening up \u003cem>musique concrète\u003c/em> to wider audiences. We quarreled a great deal and he ended up firing me. But it wasn’t such a bad thing because I founded my own studio.”\u003c/p>\n\u003cp>In 1958, the famous GRM (\u003ca href=\"http://www.inagrm.com/historique\" target=\"_blank\" rel=\"noopener\">Groupe de Recherches Musicales\u003c/a>), which exists in France to this day, was established. Henry set up his own studio, which he called Studio Apsome, in his house. In 1963, he created one of his enduring masterpieces — \u003cem>Variations pour une porte et un soupir\u003c/em> (“Variations For A Door And A Sigh”), inspired by sampling the squeaky sounds on a door in an old French farmhouse. In addition to squeaky door sounds, there was also an actual sigh, and plenty of farm noises, too. “Occasional offstage noises intrude: Henry blocked the stream to heighten the sound of rushing water, starved the pigs to make them squeal, rampaged after clucking chickens, recording all the while,” wrote the critic Art Lange in his memorable primer on \u003cem>musique concrète\u003c/em> in \u003cem>The Wire\u003c/em>.\u003c/p>\n\u003cp>Decades of memorable compositions by Henry followed, including sonic explorations inspired by the \u003cem>Tibetan Book Of The Dead\u003c/em>, a stint on the pop charts in the late 1960s for “Psyche-Rock,” cortical brain experiments and a collaboration with the British rock band Spooky Tooth. Henry released album after album, each different from the previous one, and kept on creating and collecting exciting new sounds until he died. Through it all, his childlike wonder never left him — he always remained fascinated by new sonic possibilities.\u003c/p>\n\u003cp>“I think nature was my first influence, and the sounds I heard during my childhood,” said Henry in \u003cem>The Art Of Sounds\u003c/em>. “I listened to them a lot, and they remained a part of my inner landscape … The passion I had from the first to add sound effects to my instruments, to find analogies to what I was doing at home and what I could hear outside.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My childhood certainly proved to be the best beginning an innovative musician could have.” \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=The+Life+And+Work+Of+Pierre+Henry%2C+Ceaseless+Sonic+Explorer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pierre Henry, a true giant of 20th-century musical exploration, died this week at the age of 89, \u003ca href=\"http://www.lemonde.fr/disparitions/article/2017/07/06/le-compositeur-francais-pierre-henry-est-mort_5156693_3382.html\" target=\"_blank\" rel=\"noopener\">as reported by \u003cem>Le Monde\u003c/em>\u003c/a>. The composer began exploring the nascent possibilities of electronic sound in the 1940s.\u003c/p>\n\u003cp>Beginning in 1949, Henry was vital to the development of \u003cem>musique concrète\u003c/em>, a groundbreaking form of music devised in France by Pierre Schaeffer just one year prior, in 1948. Think of \u003cem>musique concrète\u003c/em> as an early form of sampling, using sounds collected from anywhere, from the sound of a bell to a passing train. “The technique of sampling is at the heart of \u003cem>musique concrète\u003c/em>,” Henry \u003ca href=\"https://reader.exacteditions.com/issues/35766/spread/36\" target=\"_blank\" rel=\"noopener\">explained to \u003cem>The Wire\u003c/em> in 1997\u003c/a>. “We invented an alphabet, and today it has become a language.” The language Schaeffer and Henry developed is still spoken in the pop music we hear every day.\u003c/p>\n\u003cp>Back then, synthesizers and samplers as we know them didn’t exist, but there were a few ways to make electronic sounds, using homemade circuits, tone generators or various contraptions. The best-known of these electronic forebears is the theremin, invented in 1919. Tinkerers soon realized that they could “hack” devices that already existed — turntables, radios, reel-to-reel tape machines — to make some of the first electronic music. One could slow down and speed up a tape, loop it, play it backwards or cut it up, leading to worlds of new possibilities.\u003c/p>\n\u003cp>\u003cem>Musique concrète\u003c/em> is known as tape music, but in the early days it was turntable music, too. Messing around with turntables was easier than tape machines, which at the time were finicky and expensive. Henry quickly became “a sort of turntable genius,” as Schaeffer observed in his diary, translated to English in the book\u003cem> In Search Of A Concrete Music\u003c/em>. Henry soon became adept at working with tape machines too, chopping and splicing with skill. Even after synthesizers became widely available, Schaeffer preferred to use his old tools instead of the new ones.\u003c/p>\n\u003cp>“\u003cem>Musique concrète\u003c/em> is about the art of decision,” Henry said in the indispensable documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Zsb1w-3iFa8\" target=\"_blank\" rel=\"noopener\">The Art Of Sounds\u003c/a>\u003c/em>. “It’s the art of choice. You select one sound over another, and that’s where composing begins.” In the hands of artists like Henry, \u003cem>musique concrète\u003c/em> became something exquisite and sophisticated. A key to \u003cem>musique concrète\u003c/em>‘s allure and mystery was that one could “manipulate” the sounds by using various treatments to transform them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Henry was an incredibly prolific composer over the course of his life, even converting his Paris home into a living musical instrument of sorts — a quirky venue and sound installation, packed with collages and antique machines. And Henry didn’t just toil on experimental music in the studio; he was on the pop charts, too. You can still hear traces of Henry on TV; \u003cem>Futurama\u003c/em>‘s theme song is inspired by Henry’s groovy “Psyche-Rock,” made with Michel Colombier, from 1967.\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/vC1cgcOEErQ'\n title='//www.youtube.com/embed/vC1cgcOEErQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henry was classically trained, studying at the famous Conservatoire in Paris under \u003ca href=\"http://www.npr.org/artists/15162965/olivier-messiaen\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen\u003c/a> and Nadia Boulanger. At the time, Schaeffer predicted that Henry would soon quit the challenges of \u003cem>musique concrète\u003c/em>. “All of the musicians whom until then we had invited to join us had practically run away from a musical undertaking bristling with difficulties and defended by the barbed wire of technique,” Schaeffer wrote in his diary. But Henry refused to back down, wrestling with the machines until they did what he wanted them to. “Pierre Henry had abandoned his kettledrums and was giving all his time to the studio,” Schaeffer marveled. “Within a few months he had acquired skills in manipulation that amazed even sound engineers.”\u003c/p>\n\u003cp>Just as importantly, Henry’s wife, Michèle Henry, was the unsung heroine of the early days of \u003cem>musique concrète.\u003c/em> She capably managed the immense task of cataloging and organizing the thousands and thousands of “sound objects,” or samples, that Schaeffer, Henry and others were creating. \u003c/p>\n\u003cp>Where Schaeffer was cool and cerebral, a theoretician with a background in radio engineering, Henry was wild, a musician prone to impulse and occasional flights of fancy. Henry was trained in percussion and piano, and wanted to make songs at a fast clip. Schaeffer, meanwhile, sought to develop a lofty philosophy of sound.\u003c/p>\n\u003cp>Both were geniuses, and both were stubborn. Without that push-pull dynamic, without the tension between them, \u003cem>musique concrète\u003c/em> as we know it would not exist. Henry helped take that music out of the laboratory and into the world. He wasn’t afraid of commercial success, or of pop music. “For Schaeffer, \u003cem>musique concrète\u003c/em> was like a musical philosophy … for me, I immediately wanted to create works, and what’s more, profitable ones,” recalled Henry in \u003cem>The Art Of Sounds\u003c/em>.\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/zpOD7GQbd8Q'\n title='//www.youtube.com/embed/zpOD7GQbd8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henry and Schaeffer collaborated in 1950 on the strange and beautiful \u003cem>Symphonie pour un homme seul \u003c/em>(“Symphony For A Lonely Man,” or “Symphony For A Man Alone”). In 1951, Schaeffer, Henry and the engineer Jacques Poullin were the three forces behind a center called the Groupe de Recherches du Musique Concréte (GRMC). Schaeffer and Henry worked tightly together before acrimoniously parting ways in 1958 (and then befriending each other again, decades later).\u003cem> \u003c/em>“As time passed Schaeffer reproached me with spending too much time on practical applications and not enough on research,” Henry said in 1997, encapsulating the personality divide between them. “But I was more interested in opening up \u003cem>musique concrète\u003c/em> to wider audiences. We quarreled a great deal and he ended up firing me. But it wasn’t such a bad thing because I founded my own studio.”\u003c/p>\n\u003cp>In 1958, the famous GRM (\u003ca href=\"http://www.inagrm.com/historique\" target=\"_blank\" rel=\"noopener\">Groupe de Recherches Musicales\u003c/a>), which exists in France to this day, was established. Henry set up his own studio, which he called Studio Apsome, in his house. In 1963, he created one of his enduring masterpieces — \u003cem>Variations pour une porte et un soupir\u003c/em> (“Variations For A Door And A Sigh”), inspired by sampling the squeaky sounds on a door in an old French farmhouse. In addition to squeaky door sounds, there was also an actual sigh, and plenty of farm noises, too. “Occasional offstage noises intrude: Henry blocked the stream to heighten the sound of rushing water, starved the pigs to make them squeal, rampaged after clucking chickens, recording all the while,” wrote the critic Art Lange in his memorable primer on \u003cem>musique concrète\u003c/em> in \u003cem>The Wire\u003c/em>.\u003c/p>\n\u003cp>Decades of memorable compositions by Henry followed, including sonic explorations inspired by the \u003cem>Tibetan Book Of The Dead\u003c/em>, a stint on the pop charts in the late 1960s for “Psyche-Rock,” cortical brain experiments and a collaboration with the British rock band Spooky Tooth. Henry released album after album, each different from the previous one, and kept on creating and collecting exciting new sounds until he died. Through it all, his childlike wonder never left him — he always remained fascinated by new sonic possibilities.\u003c/p>\n\u003cp>“I think nature was my first influence, and the sounds I heard during my childhood,” said Henry in \u003cem>The Art Of Sounds\u003c/em>. “I listened to them a lot, and they remained a part of my inner landscape … The passion I had from the first to add sound effects to my instruments, to find analogies to what I was doing at home and what I could hear outside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A drag queen and a 4-year-old walk into a public library. It's not the setup to a joke -- it's Saturday morning in Oakland at the Drag Queen Story Hour.\u003c/p>\n\u003cp>Hundreds of parents and kids crowded into the Dimond Recreation Center on a recent Saturday to hear drag queen Black Benatar read Pride-themed storybooks.\u003c/p>\n\u003cp>According to its website, \u003ca href=\"https://www.dragqueenstoryhour.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Queen Story Hour\u003c/a> is \"just what it sounds like -- drag queens reading stories to children in libraries, schools and bookstores.\" The program started in San Francisco and has spread to cities across the United States.\u003c/p>\n\u003cp>Miriam Meadow first heard about Drag Queen Story Hour when it was held at the San Francisco Public Library two years ago. She immediately knew she wanted to bring it to the East Bay. Meadow is the children’s librarian at the Dimond Branch Library.\u003c/p>\n\u003cp>She expected 100 people to attend when Drag Queen Story Hour came to Dimond earlier this summer. \"We had 300 people come here today,\" she exclaimed, unable to contain a huge smile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dressed to the nines wearing glittery makeup, sky-high curls and a green polka-dot dress, Black Benatar could hardly contain her own excitement.\u003c/p>\n\u003cp>“I’m Black Benatar and I love reading to children!” she announced, right after teaching the audience to introduce themselves like a drag queen (it’s not “hello”, but more like “HAAAAAAY.”)\u003c/p>\n\u003cfigure id=\"attachment_11553827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11553827\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ReadingQueen2-800x698.jpg\" alt=\"Black Benatar reads to children at Drag Queen Story Hour in Oakland.\" width=\"800\" height=\"698\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-800x698.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-160x140.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-1020x889.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-1180x1029.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-960x837.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-240x209.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-375x327.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-520x453.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Benatar reads to children at Drag Queen Story Hour in Oakland. \u003ccite>(Lacy Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Benatar led the audience in traditional children’s songs like \"Old MacDonald\" and \"Twinkle Twinkle Little Star,\" and read some not-so-traditional children’s books whose themes included gay marriage and being transgender. The overwhelming crowd favorite was \"\u003ca href=\"http://myprincessboy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Princess Boy\u003c/a>,\" a tale about a young boy who likes to dress like a girl and is still loved by his family.\u003c/p>\n\u003cp>As Black Benatar read aloud (with voices and sound effects, of course), the kids in the crowd were eager participants. They even provided their own commentary. After Black Benatar read a line about people bullying the Princess Boy when he shops for girl’s clothes, a young girl shouted out, “That’s not nice!”\u003c/p>\n\u003cp>“That’s not nice!” Black Benatar echoed emphatically. “It hurts.”\u003c/p>\n\u003cp>Meadow calls Black Benatar a role model and hopes Drag Queen Story Hour will be offered at more libraries in the Oakland Public Library system next summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having gender creativity modeled in this way is so important for young kids,\" she says. \"And to have that incorporated with the joy of sharing books fits right in with the library.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A drag queen and a 4-year-old walk into a public library. It's not the setup to a joke -- it's Saturday morning in Oakland at the Drag Queen Story Hour.\u003c/p>\n\u003cp>Hundreds of parents and kids crowded into the Dimond Recreation Center on a recent Saturday to hear drag queen Black Benatar read Pride-themed storybooks.\u003c/p>\n\u003cp>According to its website, \u003ca href=\"https://www.dragqueenstoryhour.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Queen Story Hour\u003c/a> is \"just what it sounds like -- drag queens reading stories to children in libraries, schools and bookstores.\" The program started in San Francisco and has spread to cities across the United States.\u003c/p>\n\u003cp>Miriam Meadow first heard about Drag Queen Story Hour when it was held at the San Francisco Public Library two years ago. She immediately knew she wanted to bring it to the East Bay. Meadow is the children’s librarian at the Dimond Branch Library.\u003c/p>\n\u003cp>She expected 100 people to attend when Drag Queen Story Hour came to Dimond earlier this summer. \"We had 300 people come here today,\" she exclaimed, unable to contain a huge smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dressed to the nines wearing glittery makeup, sky-high curls and a green polka-dot dress, Black Benatar could hardly contain her own excitement.\u003c/p>\n\u003cp>“I’m Black Benatar and I love reading to children!” she announced, right after teaching the audience to introduce themselves like a drag queen (it’s not “hello”, but more like “HAAAAAAY.”)\u003c/p>\n\u003cfigure id=\"attachment_11553827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11553827\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ReadingQueen2-800x698.jpg\" alt=\"Black Benatar reads to children at Drag Queen Story Hour in Oakland.\" width=\"800\" height=\"698\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-800x698.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-160x140.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-1020x889.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-1180x1029.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-960x837.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-240x209.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-375x327.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ReadingQueen2-520x453.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Benatar reads to children at Drag Queen Story Hour in Oakland. \u003ccite>(Lacy Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Benatar led the audience in traditional children’s songs like \"Old MacDonald\" and \"Twinkle Twinkle Little Star,\" and read some not-so-traditional children’s books whose themes included gay marriage and being transgender. The overwhelming crowd favorite was \"\u003ca href=\"http://myprincessboy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Princess Boy\u003c/a>,\" a tale about a young boy who likes to dress like a girl and is still loved by his family.\u003c/p>\n\u003cp>As Black Benatar read aloud (with voices and sound effects, of course), the kids in the crowd were eager participants. They even provided their own commentary. After Black Benatar read a line about people bullying the Princess Boy when he shops for girl’s clothes, a young girl shouted out, “That’s not nice!”\u003c/p>\n\u003cp>“That’s not nice!” Black Benatar echoed emphatically. “It hurts.”\u003c/p>\n\u003cp>Meadow calls Black Benatar a role model and hopes Drag Queen Story Hour will be offered at more libraries in the Oakland Public Library system next summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having gender creativity modeled in this way is so important for young kids,\" she says. \"And to have that incorporated with the joy of sharing books fits right in with the library.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ben Fong-Torres may be best known for chronicling rock music’s glory decades with \u003cem>Rolling Stone \u003c/em>magazine, even \u003ca href=\"https://www.youtube.com/watch?v=nPms9Lmi4LU\" target=\"_blank\" rel=\"noopener noreferrer\">turning up as a character\u003c/a> in the Oscar-winning film \u003cem>Almost Famous\u003c/em>. But that storied career was still to come in 1967, when he was just 22 years old. During the Summer of Love, Fong-Torres was a DJ in San Francisco, spinning \u003cem>really\u003c/em> golden oldies.\u003c/p>\n\u003cp>\u003ci>(Interview edited for length and clarity.)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Where were you in the fabled ‘Summer of Love’?\u003c/strong>\u003c/p>\n\u003cp>I was on the radio. I had studied broadcasting at SF State, and journalism, and the first thing I got out of school was this weird gig on KFOG, which [today] is a rock station. But back in 1967 and before that, it was what was called a “good music” station, or “beautiful music.” So they played Henry Mancini, 101 Strings, musicals. But the weird thing was, of course, the fact that I was playing music I would never listen to.\u003c/p>\n\u003cp>The rest of the time, I was living this existence with these guys who were all into rock, the culture that was building all around us, in and around the Haight-Ashbury. So we would go to these concerts at the Matrix, or at the Avalon, or the Fillmore and out in the parks, out in the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>So you’re listening to some of the most exciting bands at the time, rock bands, and then going to work and spinning Henry Mancini?\u003c/strong>\u003c/p>\n\u003cp>Exactly. But you know, at the Fillmore and the Avalon, when Janis [Joplin] or Big Brother and the Holding Company with Janis were playing, I was always humming Mancini in my head. It was odd. I would imagine songs like “Down On Me” in an orchestral style.\u003c/p>\n\u003cp>\u003cstrong>Just trying to imagine that! I mean, you know, Mancini had talent, too.\u003c/strong>\u003c/p>\n\u003cp>Well, yeah. That’s why it was called good music!\u003c/p>\n\u003cfigure id=\"attachment_11536817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11536817 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/BenFongTorres-800x450.jpg\" alt=\"Ben Fong-Torres, after he began working for Rolling Stone magazine. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres.jpg 882w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Fong-Torres, after he began working for Rolling Stone magazine. \u003ccite>(Photo: \u003ca href=\"http://www.rickgilbert.net\" target=\"_blank\">Rick Gilbert\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was it about the music — the Grateful Dead, Big Brother and the Holding Company, Jefferson Airplane — that was so appealing?\u003c/strong>\u003c/p>\n\u003cp>Sometimes, it wasn’t the music. Sometimes, it was the sense of community that the bands were the epicenters of. It wasn’t as if there was a San Francisco sound, or psychedelic rock. Each band had various members who came from their own musical bands and interests. So it could be folk or classical. It could be jazz or blues. It could be country. All of it was welcomed into whatever the repertoire was of the band, as long as the other people dug it and could play it. Even if they couldn’t, they would learn how to do it. A lot of bands were formed for the fun of it, including people who hadn’t played those instruments.\u003c/p>\n\u003cp>\u003cstrong>Were there people who believed at that time that rock music would save the world?\u003c/strong>\u003c/p>\n\u003cp>By then, because of Bob Dylan and other folk musicians, we were hearing messages in music. Sometimes, of course, music can be a gel. It can be a binding force, a rallying cry. “We shall overcome.”\u003c/p>\n\u003cp>I think more and more young people began to see music and hear music as something more than pop songs on the radio. They became, really, a soundtrack to this emerging counterculture: not just a culture, but specifically, a counterculture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ben Fong-Torres may be best known for chronicling rock music’s glory decades with \u003cem>Rolling Stone \u003c/em>magazine, even \u003ca href=\"https://www.youtube.com/watch?v=nPms9Lmi4LU\" target=\"_blank\" rel=\"noopener noreferrer\">turning up as a character\u003c/a> in the Oscar-winning film \u003cem>Almost Famous\u003c/em>. But that storied career was still to come in 1967, when he was just 22 years old. During the Summer of Love, Fong-Torres was a DJ in San Francisco, spinning \u003cem>really\u003c/em> golden oldies.\u003c/p>\n\u003cp>\u003ci>(Interview edited for length and clarity.)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Where were you in the fabled ‘Summer of Love’?\u003c/strong>\u003c/p>\n\u003cp>I was on the radio. I had studied broadcasting at SF State, and journalism, and the first thing I got out of school was this weird gig on KFOG, which [today] is a rock station. But back in 1967 and before that, it was what was called a “good music” station, or “beautiful music.” So they played Henry Mancini, 101 Strings, musicals. But the weird thing was, of course, the fact that I was playing music I would never listen to.\u003c/p>\n\u003cp>The rest of the time, I was living this existence with these guys who were all into rock, the culture that was building all around us, in and around the Haight-Ashbury. So we would go to these concerts at the Matrix, or at the Avalon, or the Fillmore and out in the parks, out in the streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>So you’re listening to some of the most exciting bands at the time, rock bands, and then going to work and spinning Henry Mancini?\u003c/strong>\u003c/p>\n\u003cp>Exactly. But you know, at the Fillmore and the Avalon, when Janis [Joplin] or Big Brother and the Holding Company with Janis were playing, I was always humming Mancini in my head. It was odd. I would imagine songs like “Down On Me” in an orchestral style.\u003c/p>\n\u003cp>\u003cstrong>Just trying to imagine that! I mean, you know, Mancini had talent, too.\u003c/strong>\u003c/p>\n\u003cp>Well, yeah. That’s why it was called good music!\u003c/p>\n\u003cfigure id=\"attachment_11536817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11536817 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/BenFongTorres-800x450.jpg\" alt=\"Ben Fong-Torres, after he began working for Rolling Stone magazine. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/BenFongTorres.jpg 882w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Fong-Torres, after he began working for Rolling Stone magazine. \u003ccite>(Photo: \u003ca href=\"http://www.rickgilbert.net\" target=\"_blank\">Rick Gilbert\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was it about the music — the Grateful Dead, Big Brother and the Holding Company, Jefferson Airplane — that was so appealing?\u003c/strong>\u003c/p>\n\u003cp>Sometimes, it wasn’t the music. Sometimes, it was the sense of community that the bands were the epicenters of. It wasn’t as if there was a San Francisco sound, or psychedelic rock. Each band had various members who came from their own musical bands and interests. So it could be folk or classical. It could be jazz or blues. It could be country. All of it was welcomed into whatever the repertoire was of the band, as long as the other people dug it and could play it. Even if they couldn’t, they would learn how to do it. A lot of bands were formed for the fun of it, including people who hadn’t played those instruments.\u003c/p>\n\u003cp>\u003cstrong>Were there people who believed at that time that rock music would save the world?\u003c/strong>\u003c/p>\n\u003cp>By then, because of Bob Dylan and other folk musicians, we were hearing messages in music. Sometimes, of course, music can be a gel. It can be a binding force, a rallying cry. “We shall overcome.”\u003c/p>\n\u003cp>I think more and more young people began to see music and hear music as something more than pop songs on the radio. They became, really, a soundtrack to this emerging counterculture: not just a culture, but specifically, a counterculture.\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": "Reproduction of Banksy’s \"Haight Street Rat\" Just Fan Art",
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"content": "\u003cp>Tough luck for local Banksy fans: the iconic “Haight Street Rat” mural that popped up in San Francisco earlier this week is merely an homage to the notorious street artist and not an authentic Banksy.\u003c/p>\n\u003cp>\u003ca href=\"http://hoodline.com/2017/07/hoodline-tipline-haight-street-rat-recreators-caught-in-the-act\" target=\"_blank\" rel=\"noopener noreferrer\">Hoodline reports\u003c/a> that the recreation of the beloved image on a Red Victorian in the Upper Haight is \u003cem>not\u003c/em> an authorized Banksy creation. According to the tipster, the artists — or vandals, depending on where you stand — projected the beret-donning rat from the roof of nearby vintage clothing store Decades of Fashion on Tuesday. But as seen in the documentary \u003cem>Exit Through the Gift Shop\u003c/em>, Banksy only uses stencils for his work.\u003c/p>\n\u003cp>https://www.instagram.com/p/BWNj1EcAkL9/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Brian Greif, a local street art collector who served as the subject and executive producer for the documentary \u003cem>Saving Banksy\u003c/em>, said he was thrilled over the imitation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s great that people are aware enough of that specific site and the ‘Haight Street Rat’ that they’d want to go up and do any kind of representation of that piece of work,” said Greif, who owns the original “Rat.”\u003c/p>\n\u003cp>The original “Rat” has been on public display on the window at the Weinstein Gallery on Geary St., with the hope that it stays true to Banksy’s original intent. It will leave San Francisco at the end of the month, where it will pay a visit to the library in Kokomo, Indiana and a couple of cities in Canada.\u003c/p>\n\u003cp>If this reproduction were a certified Banksy, it would have joined the few holdovers from his previous trips to San Francisco, such as the “Call An Airstrike” mural on Broadway and Columbus. Alas, enthusiasts will need to wait for the artist to make another pit stop to get the real deal, and Greif laments that a Banksy visit to San Francisco may not happen anytime soon.\u003c/p>\n\u003cp>“I wish he was in a position where he could do more public work,” he said. “Everyone wants to reveal his identity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though he hasn’t made big headlines, there’s been evidence recently that Banksy is still leaving his mark on the sly. A newspaper in Malta \u003ca href=\"https://www.timesofmalta.com/articles/view/20170704/local/banksy-in-malta.652396\" target=\"_blank\" rel=\"noopener noreferrer\">reported on Tuesday\u003c/a> that Banksy may have stenciled a new piece, this time of a baby sitting on a British Bobby helmet.\u003c/p>\n\n",
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"excerpt": "Surprise! The “Haight Street Rat” that popped up on the Red Victorian this week is not a genuine Banksy piece.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tough luck for local Banksy fans: the iconic “Haight Street Rat” mural that popped up in San Francisco earlier this week is merely an homage to the notorious street artist and not an authentic Banksy.\u003c/p>\n\u003cp>\u003ca href=\"http://hoodline.com/2017/07/hoodline-tipline-haight-street-rat-recreators-caught-in-the-act\" target=\"_blank\" rel=\"noopener noreferrer\">Hoodline reports\u003c/a> that the recreation of the beloved image on a Red Victorian in the Upper Haight is \u003cem>not\u003c/em> an authorized Banksy creation. According to the tipster, the artists — or vandals, depending on where you stand — projected the beret-donning rat from the roof of nearby vintage clothing store Decades of Fashion on Tuesday. But as seen in the documentary \u003cem>Exit Through the Gift Shop\u003c/em>, Banksy only uses stencils for his work.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Brian Greif, a local street art collector who served as the subject and executive producer for the documentary \u003cem>Saving Banksy\u003c/em>, said he was thrilled over the imitation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s great that people are aware enough of that specific site and the ‘Haight Street Rat’ that they’d want to go up and do any kind of representation of that piece of work,” said Greif, who owns the original “Rat.”\u003c/p>\n\u003cp>The original “Rat” has been on public display on the window at the Weinstein Gallery on Geary St., with the hope that it stays true to Banksy’s original intent. It will leave San Francisco at the end of the month, where it will pay a visit to the library in Kokomo, Indiana and a couple of cities in Canada.\u003c/p>\n\u003cp>If this reproduction were a certified Banksy, it would have joined the few holdovers from his previous trips to San Francisco, such as the “Call An Airstrike” mural on Broadway and Columbus. Alas, enthusiasts will need to wait for the artist to make another pit stop to get the real deal, and Greif laments that a Banksy visit to San Francisco may not happen anytime soon.\u003c/p>\n\u003cp>“I wish he was in a position where he could do more public work,” he said. “Everyone wants to reveal his identity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though he hasn’t made big headlines, there’s been evidence recently that Banksy is still leaving his mark on the sly. A newspaper in Malta \u003ca href=\"https://www.timesofmalta.com/articles/view/20170704/local/banksy-in-malta.652396\" target=\"_blank\" rel=\"noopener noreferrer\">reported on Tuesday\u003c/a> that Banksy may have stenciled a new piece, this time of a baby sitting on a British Bobby helmet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Breitbart Mime Troupe Freakout Tests NEA Funding Assumptions",
"headTitle": "Breitbart Mime Troupe Freakout Tests NEA Funding Assumptions | KQED",
"content": "\u003cp>In its 58th year, the \u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Mime Troupe\u003c/a> is caught in what I would describe as an extended aesthetic rut. The company delivers a variation of the same show year after year: a kind of longform \u003cem>Saturday Night Live\u003c/em> sketch with a more robust leftish agenda.\u003c/p>\n\u003cp>The Troupe’s shows are more a summer ritual gathering than a place for theater. The productions go up and down in quality. Thanks to Edris Cooper-Anifowoshe’s direction, this year’s offering, \u003cem>Walls\u003c/em>, zips along for the first half-hour or so. But the experience ultimately feels like most other Mime Troupe productions — you’ve seen and felt it all before.\u003c/p>\n\u003cfigure id=\"attachment_13596646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L. Mary Jones (Velina Brown) strays towards the bad in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when \u003cem>Breitbart News\u003c/em>, basically scavenging the work of the \u003ca href=\"http://freebeacon.com/culture/feds-spend-20000-musical-illegal-immigrant-lesbian/\">\u003cem>Free Beacon\u003c/em>\u003c/a>, flipped out last week over the Mime Troupe receiving a grant from the National Endowment for the Arts (NEA) (“\u003ca href=\"http://www.breitbart.com/texas/2017/06/26/trump-nea-grants-20k-lesbian-illegal-alien-musical/\" target=\"_blank\" rel=\"noopener noreferrer\">Trump NEA grants $20k for lesbian illegal alien musical\u003c/a>“) the online publication got at some uncomfortable truths. Perhaps the most pressing question the article raised is, what do we expect from political art, and art that is partially funded by the government?\u003c/p>\n\u003cp>Both the \u003cem>Breitbart \u003c/em>article and the one it filches from in the \u003cem>Free Beacon\u003c/em> hew to the facts, for the most part. They quote from the show’s press release, have a clear sense of what \u003cem>Walls\u003c/em> is about, and demonstrate an understanding of the Mime Troupe’s mission. What these publications object to is the notion of support, primarily financial, as well as the simple act of giving credence to anything they deem un-American.\u003c/p>\n\u003cp>In a basic way, the mere existence of the Mime Troupe is a threat, a counter-vision that is so destabilizing that a $20,000 grant is treated as a bankrupting of the entire economy, to say nothing of the nation’s soul. The \u003cem>Breitbart\u003c/em> headline — “lesbian illegal alien musical” — says it all. But what’s damning about it all is how the Mime Troupe takes such potent, promising material and churns it into indifferent mush.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The outline of \u003cem>Walls\u003c/em> is promising, and asks serious questions about national policies and personal responsibility. Zaniyah Nahuati, a young Mexican woman, has crossed over to the United States and has been hiding in her lover’s apartment. That she’s a lesbian and her partner Mary is an ICE agent is just the beginning of a series of farcical mishaps that cut to the heart of our national immigration policy. It’s not just President Donald Trump’s way of doing things that comes under scrutiny in the show, but also the policies of former Presidents Obama, both Bushes, and Clinton.\u003c/p>\n\u003cfigure id=\"attachment_13596681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg\" alt=\"Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup is by far the most effective aspect of Michael Gene Sullivan’s script. Mary is essentially two citizens: a private one who wishes to protect the illegal Zaniyah, and a public one who is sworn to track her down, turn her in, and escort her back to Mexico. And so this is a love story between a person without legal standing and another split between law and desire.\u003c/p>\n\u003cp>Great farce moves so fast that we can barely keep up with it. But in \u003cem>Walls\u003c/em>, all the comic bits, minor characters, and overly long set-ups to obvious jokes slow down the action. Rather than concentrate on the lives of people living in complex times and how they negotiate them, we end up numbed by a narrative we’re light years ahead of. Scenes that should fly by go on and on to less and less effect.\u003c/p>\n\u003cfigure id=\"attachment_13596649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg\" alt=\"ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-520x303.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the set up offends \u003cem>Breitbart\u003c/em> and the \u003cem>Free Beacon\u003c/em>, the follow-through should offend all those who dream of an engaged political art, one that’s funded, free, and alive to the world. There should be more to an offending vision than its mere presence.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Walls’ runs through Sunday, Sep. 10 at various outdoor locations throughout the Bay Area. Tickets are free. For information on show times \u003ca href=\"http://www.sfmt.org/schedule/index.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Seeing the San Francisco theater company's show 'Walls' after the right-wing publication dubbed it a 'lesbian illegal alien musical' provides food for thought.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In its 58th year, the \u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Mime Troupe\u003c/a> is caught in what I would describe as an extended aesthetic rut. The company delivers a variation of the same show year after year: a kind of longform \u003cem>Saturday Night Live\u003c/em> sketch with a more robust leftish agenda.\u003c/p>\n\u003cp>The Troupe’s shows are more a summer ritual gathering than a place for theater. The productions go up and down in quality. Thanks to Edris Cooper-Anifowoshe’s direction, this year’s offering, \u003cem>Walls\u003c/em>, zips along for the first half-hour or so. But the experience ultimately feels like most other Mime Troupe productions — you’ve seen and felt it all before.\u003c/p>\n\u003cfigure id=\"attachment_13596646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L. Mary Jones (Velina Brown) strays towards the bad in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when \u003cem>Breitbart News\u003c/em>, basically scavenging the work of the \u003ca href=\"http://freebeacon.com/culture/feds-spend-20000-musical-illegal-immigrant-lesbian/\">\u003cem>Free Beacon\u003c/em>\u003c/a>, flipped out last week over the Mime Troupe receiving a grant from the National Endowment for the Arts (NEA) (“\u003ca href=\"http://www.breitbart.com/texas/2017/06/26/trump-nea-grants-20k-lesbian-illegal-alien-musical/\" target=\"_blank\" rel=\"noopener noreferrer\">Trump NEA grants $20k for lesbian illegal alien musical\u003c/a>“) the online publication got at some uncomfortable truths. Perhaps the most pressing question the article raised is, what do we expect from political art, and art that is partially funded by the government?\u003c/p>\n\u003cp>Both the \u003cem>Breitbart \u003c/em>article and the one it filches from in the \u003cem>Free Beacon\u003c/em> hew to the facts, for the most part. They quote from the show’s press release, have a clear sense of what \u003cem>Walls\u003c/em> is about, and demonstrate an understanding of the Mime Troupe’s mission. What these publications object to is the notion of support, primarily financial, as well as the simple act of giving credence to anything they deem un-American.\u003c/p>\n\u003cp>In a basic way, the mere existence of the Mime Troupe is a threat, a counter-vision that is so destabilizing that a $20,000 grant is treated as a bankrupting of the entire economy, to say nothing of the nation’s soul. The \u003cem>Breitbart\u003c/em> headline — “lesbian illegal alien musical” — says it all. But what’s damning about it all is how the Mime Troupe takes such potent, promising material and churns it into indifferent mush.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The outline of \u003cem>Walls\u003c/em> is promising, and asks serious questions about national policies and personal responsibility. Zaniyah Nahuati, a young Mexican woman, has crossed over to the United States and has been hiding in her lover’s apartment. That she’s a lesbian and her partner Mary is an ICE agent is just the beginning of a series of farcical mishaps that cut to the heart of our national immigration policy. It’s not just President Donald Trump’s way of doing things that comes under scrutiny in the show, but also the policies of former Presidents Obama, both Bushes, and Clinton.\u003c/p>\n\u003cfigure id=\"attachment_13596681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg\" alt=\"Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup is by far the most effective aspect of Michael Gene Sullivan’s script. Mary is essentially two citizens: a private one who wishes to protect the illegal Zaniyah, and a public one who is sworn to track her down, turn her in, and escort her back to Mexico. And so this is a love story between a person without legal standing and another split between law and desire.\u003c/p>\n\u003cp>Great farce moves so fast that we can barely keep up with it. But in \u003cem>Walls\u003c/em>, all the comic bits, minor characters, and overly long set-ups to obvious jokes slow down the action. Rather than concentrate on the lives of people living in complex times and how they negotiate them, we end up numbed by a narrative we’re light years ahead of. Scenes that should fly by go on and on to less and less effect.\u003c/p>\n\u003cfigure id=\"attachment_13596649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg\" alt=\"ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-520x303.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the set up offends \u003cem>Breitbart\u003c/em> and the \u003cem>Free Beacon\u003c/em>, the follow-through should offend all those who dream of an engaged political art, one that’s funded, free, and alive to the world. There should be more to an offending vision than its mere presence.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Walls’ runs through Sunday, Sep. 10 at various outdoor locations throughout the Bay Area. Tickets are free. For information on show times \u003ca href=\"http://www.sfmt.org/schedule/index.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a drastic push to reduce its operating costs within a saturated music streaming market, SoundCloud shuttered its San Francisco and London offices and laid off almost half of its workforce this week, according to a statement issued by SoundCloud CEO Alexander Ljung.\u003c/p>\n\u003cp>Of its 420 staff members, 173 SoundCloud employees were laid off Thursday — a company reduction of nearly 40 percent. The streaming service, which is headquartered in Berlin, will consolidate its remaining staffers within its Berlin and New York offices.\u003c/p>\n\u003cp>Founded in 2008, SoundCloud has since effectively transitioned from an independent, creator-driven service to a site fully backed by industry stakeholders. It signed licensing and investment deals with all three major labels, the latest of which was an agreement with Sony Music in March last year.\u003c/p>\n\u003cp>“By reducing our costs and continuing our revenue growth, we’re on our path to profitability and in control of SoundCloud’s independent future,” wrote Ljung in the statement.\u003c/p>\n\u003cp>The closures come after a report issued in January that detailed SoundCloud’s financial difficulties. Despite Ljung’s statement, which asserted that the company’s revenue doubled in the past year, a report filed by the music streaming service in January showed a loss of $54 million in 2015. The report also cautioned the possibility of SoundCloud running out of funds by the end of this year, though the company secured $70 million of debt funding in March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>French streaming service Deezer is the latest company in the rumor mill for SoundCloud’s potential acquisition. Google, Twitter and most notably Spotify, SoundCloud’s largest competitor, have previously expressed interest in purchasing the beleaguered company. SoundCloud has yet to finalize a deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, SoundCloud released a reworked version of its paid subscription service, SoundCloud Go, with tiered offerings that compete with sites like Pandora and Spotify.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a drastic push to reduce its operating costs within a saturated music streaming market, SoundCloud shuttered its San Francisco and London offices and laid off almost half of its workforce this week, according to a statement issued by SoundCloud CEO Alexander Ljung.\u003c/p>\n\u003cp>Of its 420 staff members, 173 SoundCloud employees were laid off Thursday — a company reduction of nearly 40 percent. The streaming service, which is headquartered in Berlin, will consolidate its remaining staffers within its Berlin and New York offices.\u003c/p>\n\u003cp>Founded in 2008, SoundCloud has since effectively transitioned from an independent, creator-driven service to a site fully backed by industry stakeholders. It signed licensing and investment deals with all three major labels, the latest of which was an agreement with Sony Music in March last year.\u003c/p>\n\u003cp>“By reducing our costs and continuing our revenue growth, we’re on our path to profitability and in control of SoundCloud’s independent future,” wrote Ljung in the statement.\u003c/p>\n\u003cp>The closures come after a report issued in January that detailed SoundCloud’s financial difficulties. Despite Ljung’s statement, which asserted that the company’s revenue doubled in the past year, a report filed by the music streaming service in January showed a loss of $54 million in 2015. The report also cautioned the possibility of SoundCloud running out of funds by the end of this year, though the company secured $70 million of debt funding in March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>French streaming service Deezer is the latest company in the rumor mill for SoundCloud’s potential acquisition. Google, Twitter and most notably Spotify, SoundCloud’s largest competitor, have previously expressed interest in purchasing the beleaguered company. SoundCloud has yet to finalize a deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, SoundCloud released a reworked version of its paid subscription service, SoundCloud Go, with tiered offerings that compete with sites like Pandora and Spotify.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pulitzer Prize-winning playwright Edward Albee has been in the news a lot lately. Albee \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/16/462191417/playwright-edward-albee-who-changed-and-challenged-audiences-dies-at-88\" target=\"_blank\" rel=\"noopener\">died in 2016\u003c/a>, and since then his estate has turned down \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/05/31/530750975/why-a-theater-director-made-a-color-conscious-choice-in-virginia-woolf-casting\" target=\"_blank\" rel=\"noopener\">a multi-racial production\u003c/a> of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and put his contemporary art collection up for auction for an estimated $9 million. Now \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/07/04/theater/edward-albees-final-wish-destroy-my-unfinished-work.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that his incomplete works may never see the light of day.\u003c/p>\n\u003cp>The clause in Albee’s will is pretty clear: “If at the time of my death I shall leave any incomplete manuscripts I hereby direct my executors to destroy such incomplete manuscripts.”\u003c/p>\n\u003cp>Albee’s estate wouldn’t comment on whether they’ve followed his orders, but the directive is very much in character — and Emily Mann isn’t the least bit surprised. She’s the artistic director of the \u003ca href=\"http://www.mccarter.org/home.aspx?page_id=1\" target=\"_blank\" rel=\"noopener\">McCarter Theatre Center\u003c/a> in Princeton, N.J., and she worked with Albee on several plays. “He wanted to have authority over everything of his that was on the stage,” she says. That meant casting, props and even the color of the set.\u003c/p>\n\u003cp>Mann says the playwright was so exacting that when actress Rosemary Harris was rehearsing his play \u003cem>All Over\u003c/em>, “He wrote me a note on one of Rosemary’s lines which was, ‘I didn’t hear the comma.’ ”\u003c/p>\n\u003cp>According to Mann, whenever they worked on a new play together, Albee pretty much kept his writing a secret. There were never readings or workshops, just a final draft. The playwright told me in a 2008 interview, “I don’t think a play should go in rehearsal until it’s ready to open.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s where the incomplete manuscripts come in. Albee’s last work, \u003cem>Laying an Egg\u003c/em>, was supposed to open off-Broadway, but it was postponed twice because the author said it wasn’t ready. Now we may never know what was in that play.\u003c/p>\n\u003cp>David Crespy is president of the \u003ca href=\"http://edwardalbeesociety.org/\" target=\"_blank\" rel=\"noopener\">Edward Albee Society\u003c/a>, which promotes scholarship on the playwrights work. “It’s a very disappointing decision,” he says. “… It’s kind of a way of shutting us out of Edward’s creative process — which, by the way, he \u003cem>wanted\u003c/em> to shut us out of his creative process.”\u003c/p>\n\u003cp>But in the past, other estates have chosen to ignore authors’ wishes. Franz Kafka asked for his work to be burned, and it wasn’t; the play \u003cem>Long Day’s Journey Into Night\u003c/em> was staged shortly after playwright Eugene O’Neill’s death, even though he asked for a 25-year waiting period.\u003c/p>\n\u003cp>David Friedlander is a lawyer for theater productions. He says the Albee estate’s decision may be a loss for future scholarship on the playwright, but it’s well within its rights: “Authors, when they’re working on drafts of things, they might write things that are poorly written, for one; ideas and concepts that are incomplete, or characters that are incomplete; or they may write things that are, you know, sexist or racist or politically charged that they may or may not really believe. But the artist, I think, has the absolute right to determine what gets disclosed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Albee exercised that right in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=88141908\" target=\"_blank\" rel=\"noopener\">his 2008 interview with me\u003c/a>. When I asked about a new play he was working on, he gave a sly smile and said, “One is emerging, yes. … It’s called \u003cem>Silence\u003c/em>, yes. Yes. That’s all I will tell you at the moment about it.” \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=+Playwright+Edward+Albee%27s+Incomplete+Works+May+Never+See+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pulitzer Prize-winning playwright Edward Albee has been in the news a lot lately. Albee \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/16/462191417/playwright-edward-albee-who-changed-and-challenged-audiences-dies-at-88\" target=\"_blank\" rel=\"noopener\">died in 2016\u003c/a>, and since then his estate has turned down \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/05/31/530750975/why-a-theater-director-made-a-color-conscious-choice-in-virginia-woolf-casting\" target=\"_blank\" rel=\"noopener\">a multi-racial production\u003c/a> of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and put his contemporary art collection up for auction for an estimated $9 million. Now \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/07/04/theater/edward-albees-final-wish-destroy-my-unfinished-work.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that his incomplete works may never see the light of day.\u003c/p>\n\u003cp>The clause in Albee’s will is pretty clear: “If at the time of my death I shall leave any incomplete manuscripts I hereby direct my executors to destroy such incomplete manuscripts.”\u003c/p>\n\u003cp>Albee’s estate wouldn’t comment on whether they’ve followed his orders, but the directive is very much in character — and Emily Mann isn’t the least bit surprised. She’s the artistic director of the \u003ca href=\"http://www.mccarter.org/home.aspx?page_id=1\" target=\"_blank\" rel=\"noopener\">McCarter Theatre Center\u003c/a> in Princeton, N.J., and she worked with Albee on several plays. “He wanted to have authority over everything of his that was on the stage,” she says. That meant casting, props and even the color of the set.\u003c/p>\n\u003cp>Mann says the playwright was so exacting that when actress Rosemary Harris was rehearsing his play \u003cem>All Over\u003c/em>, “He wrote me a note on one of Rosemary’s lines which was, ‘I didn’t hear the comma.’ ”\u003c/p>\n\u003cp>According to Mann, whenever they worked on a new play together, Albee pretty much kept his writing a secret. There were never readings or workshops, just a final draft. The playwright told me in a 2008 interview, “I don’t think a play should go in rehearsal until it’s ready to open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s where the incomplete manuscripts come in. Albee’s last work, \u003cem>Laying an Egg\u003c/em>, was supposed to open off-Broadway, but it was postponed twice because the author said it wasn’t ready. Now we may never know what was in that play.\u003c/p>\n\u003cp>David Crespy is president of the \u003ca href=\"http://edwardalbeesociety.org/\" target=\"_blank\" rel=\"noopener\">Edward Albee Society\u003c/a>, which promotes scholarship on the playwrights work. “It’s a very disappointing decision,” he says. “… It’s kind of a way of shutting us out of Edward’s creative process — which, by the way, he \u003cem>wanted\u003c/em> to shut us out of his creative process.”\u003c/p>\n\u003cp>But in the past, other estates have chosen to ignore authors’ wishes. Franz Kafka asked for his work to be burned, and it wasn’t; the play \u003cem>Long Day’s Journey Into Night\u003c/em> was staged shortly after playwright Eugene O’Neill’s death, even though he asked for a 25-year waiting period.\u003c/p>\n\u003cp>David Friedlander is a lawyer for theater productions. He says the Albee estate’s decision may be a loss for future scholarship on the playwright, but it’s well within its rights: “Authors, when they’re working on drafts of things, they might write things that are poorly written, for one; ideas and concepts that are incomplete, or characters that are incomplete; or they may write things that are, you know, sexist or racist or politically charged that they may or may not really believe. But the artist, I think, has the absolute right to determine what gets disclosed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Albee exercised that right in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=88141908\" target=\"_blank\" rel=\"noopener\">his 2008 interview with me\u003c/a>. When I asked about a new play he was working on, he gave a sly smile and said, “One is emerging, yes. … It’s called \u003cem>Silence\u003c/em>, yes. Yes. That’s all I will tell you at the moment about it.” \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=+Playwright+Edward+Albee%27s+Incomplete+Works+May+Never+See+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and Sarah's Picks: A Tale of Four Immigrants, Photos of Injustice, and a Musical Company Store",
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"content": "\u003cp>My co-host this week is Sarah Sexton, an Oakland music promoter, founder of the record label \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oakland Indie Mayhem\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">one of KQED’s ‘Women to Watch’\u003c/a> in 2016. The best part of doing the show with Sarah? We got to take an audio field trip to the Oakland Museum for \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener\">the Dorothea Lange show \u003cem>Politics of Seeing\u003c/em>\u003c/a>. Read on for more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R0flGuje298\u003c/p>\n\u003cp>\u003cstrong>July 8:\u003c/strong> Madeline Kenney (video above) is an Oakland baker, cartoon enthusiast, musician, and one of the headliners for Company Pop, a showcase and pop-up store for \u003ca href=\"http://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Records \u003c/a>and its artists. Company Pop was founded by Berkeley’s Chaz Bundick, of the band \u003ca href=\"http://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>, and features Bundick’s side projects such as Les Sins and collaborations with \u003ca href=\"http://www.mattson2.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mattson 2\u003c/a> and others — the roster is a diverse mix of indie rock, pop and jazz. The city of Berkeley recently celebrated Bundick by \u003ca href=\"http://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">giving him a day in his honor\u003c/a>, so we’re happy they’re sharing him with Oakland for this show featuring music, art giveaways and video projections at the \u003ca href=\"https://www.facebook.com/pg/starlinesocialclub/events/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> on Saturday. \u003ca href=\"https://www.eventbrite.com/e/company-pop-showcase-featuring-toro-y-moi-dj-set-astronauts-etc-dj-set-vinyl-williams-madeline-tickets-35243433057\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zg-sqo3awkg\u003c/p>\n\u003cp>\u003cstrong>July 13:\u003c/strong> The Quebe Sisters, out of Texas, are three young women who play fiddle and harmonize in a stylistic blend of Bob Wills and the Lennon Sisters. Like Wills, they mix country, jazz, and a little bit of bluegrass into an upbeat sound. My wife is a huge fan, so we’ll be at one of these shows. Details for their appearance at the Sierra Nevada Big Room in Chico on Tuesday July 11 \u003ca href=\"http://www.sierranevada.com/brewery/california/big-room\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>. Then they play Freight and Salvage in Berkeley on Thursday, July 13 (\u003ca href=\"http://thefreight.org/quebe-sisters\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), or catch them Friday, July 14, on the plaza in Cloverdale for a free show. \u003ca href=\"http://www.cloverdaleartsalliance.org/fnlmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13594147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg\" alt=\"Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in the 'Four Immigrants, an American Musical Manga\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in ‘Four Immigrants, an American Musical Manga.’ \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 12–Aug. 6:\u003c/strong> Theatreworks founder and Artistic Director Robert Kelley never met a musical he didn’t like, so it’s no surprise to find him greenlighting a full production of \u003cem>The Four Immigrants, an American Musical Manga\u003c/em>, a play developed at the company’s New Works Festival last year.\u003c/p>\n\u003cfigure id=\"attachment_13594149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg\" alt=\"An original illustration from the graphic novel 'The Four Immigrants' by Henry Kiyama, translated by Frederik L. Schodt\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1920x1611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1180x990.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-960x805.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-520x436.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original illustration from the graphic novel ‘The Four Immigrants’ by Henry Kiyama, translated by Frederik L. Schodt. \u003ccite>(Photo: Courtesy of Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playwright \u003ca href=\"http://www.minkahng.com/4imm/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng \u003c/a>of Alameda based the musical \u003ca href=\"https://en.wikipedia.org/wiki/The_Four_Immigrants_Manga\" target=\"_blank\" rel=\"noopener noreferrer\">on a graphic novel written by Henry Kiyama\u003c/a> in 1931, based on his own experiences in San Francisco in the early 20th century, a period that covered the 1906 earthquake, the 1918 flu epidemic, and the Panama-Pacific International Exposition. The show promises to be both a celebration of the way immigrants have always believed in the American dream, but also a cautionary tale of how unwelcoming the United States has been for many Asian-Americans and other immigrants. \u003ca href=\"https://www.theatreworks.org/201718-season/201718-season/the-four-immigrants/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg\" alt='\"Crossroads, General Store, North Carolina,\" by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California' width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crossroads, General Store, North Carolina,” by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California. \u003ccite>(Photo: Dorothea Lange Courtesy of the Oakland Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>\u003cem>Dorothea Lange: Politics of\u003c/em>\u003cbr>\n\u003cem> Seeing \u003c/em>is an exhibit showing that Lange, a journalist famous for her Depression era photos, was always working to fight injustice in her documentary work — whether covering poverty in the south (see above), migrants leaving the Midwest for California, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese-Americans facing internment\u003c/a>, or Public Defenders working for indigent clients. The pictures are always beautifully shot and framed, but for Lange, they only mattered if they provoked the viewer and brought reform. The show also shows how Lange influenced other photojournalists to expose poverty and injustice, among them Ken Light, who’s taught for years at the Journalism school at Cal Berkeley. Details for the exhibition at the Oakland Museum of California are \u003ca href=\"http://museumca.org/exhibit/dorothea-lange-politics-seeing\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0BRegAkk1A4\u003c/p>\n\u003cp>\u003cstrong>July 13\u003c/strong>: Tall Black Guy is a beat maker and music producer out of Chicago. His music is often in a laid-back groove, and remixes artists both well-known and obscure, including Sade and the South African singer Moonchild. Sarah says she likes how he tells a story through his beats and samples. And his tracks often tackle deep issues such as racism, inequality and privilege. Details for his show Thursday at the Continental Bar and Lounge in San Jose \u003ca href=\"https://www.facebook.com/events/1695706470738563/?__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A1695706470738563%2C%22event_type%22%3A%22clicked_view_profile%22%2C%22impression_info%22%3A%22eyJmIjp7InN0eWxlIjoiMzUiLCJwYWdlX2lkIjoiMTUzMjEyMjA0ODE5NDU2IiwicmVxdWVzdF9pZCI6Ik5qazVNek0zT1RjekxUQXVOemd3TkRJME1EQWdNVFE1T1RJNU9ETTBOeTB4TVRZME16VXlOVFExIn19%22%2C%22surface%22%3A%22www_pages_home%22%2C%22interacted_story_type%22%3A%22509240112603598%22%2C%22session_id%22%3A%22e35b7ded23b17bd1447db3fe3c0467c0%22%7D%7D\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593444\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg\" alt=\"KQED's Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to Sarah Sexton for co-hosting this week’s show!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Madeline Kinney, the Quebe Sisters, Dorothea Lange, Tall Black Guy and more make up this week's Do List with co-host Sarah Sexton.",
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"title": "Cy and Sarah's Picks: A Tale of Four Immigrants, Photos of Injustice, and a Musical Company Store | KQED",
"description": "Madeline Kinney, the Quebe Sisters, Dorothea Lange, Tall Black Guy and more make up this week's Do List with co-host Sarah Sexton.",
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"headline": "Cy and Sarah's Picks: A Tale of Four Immigrants, Photos of Injustice, and a Musical Company Store",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is Sarah Sexton, an Oakland music promoter, founder of the record label \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oakland Indie Mayhem\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">one of KQED’s ‘Women to Watch’\u003c/a> in 2016. The best part of doing the show with Sarah? We got to take an audio field trip to the Oakland Museum for \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener\">the Dorothea Lange show \u003cem>Politics of Seeing\u003c/em>\u003c/a>. Read on for more.\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/R0flGuje298'\n title='//www.youtube.com/embed/R0flGuje298'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 8:\u003c/strong> Madeline Kenney (video above) is an Oakland baker, cartoon enthusiast, musician, and one of the headliners for Company Pop, a showcase and pop-up store for \u003ca href=\"http://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Records \u003c/a>and its artists. Company Pop was founded by Berkeley’s Chaz Bundick, of the band \u003ca href=\"http://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>, and features Bundick’s side projects such as Les Sins and collaborations with \u003ca href=\"http://www.mattson2.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mattson 2\u003c/a> and others — the roster is a diverse mix of indie rock, pop and jazz. The city of Berkeley recently celebrated Bundick by \u003ca href=\"http://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">giving him a day in his honor\u003c/a>, so we’re happy they’re sharing him with Oakland for this show featuring music, art giveaways and video projections at the \u003ca href=\"https://www.facebook.com/pg/starlinesocialclub/events/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> on Saturday. \u003ca href=\"https://www.eventbrite.com/e/company-pop-showcase-featuring-toro-y-moi-dj-set-astronauts-etc-dj-set-vinyl-williams-madeline-tickets-35243433057\" 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/Zg-sqo3awkg'\n title='//www.youtube.com/embed/Zg-sqo3awkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 13:\u003c/strong> The Quebe Sisters, out of Texas, are three young women who play fiddle and harmonize in a stylistic blend of Bob Wills and the Lennon Sisters. Like Wills, they mix country, jazz, and a little bit of bluegrass into an upbeat sound. My wife is a huge fan, so we’ll be at one of these shows. Details for their appearance at the Sierra Nevada Big Room in Chico on Tuesday July 11 \u003ca href=\"http://www.sierranevada.com/brewery/california/big-room\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>. Then they play Freight and Salvage in Berkeley on Thursday, July 13 (\u003ca href=\"http://thefreight.org/quebe-sisters\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), or catch them Friday, July 14, on the plaza in Cloverdale for a free show. \u003ca href=\"http://www.cloverdaleartsalliance.org/fnlmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13594147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg\" alt=\"Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in the 'Four Immigrants, an American Musical Manga\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in ‘Four Immigrants, an American Musical Manga.’ \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 12–Aug. 6:\u003c/strong> Theatreworks founder and Artistic Director Robert Kelley never met a musical he didn’t like, so it’s no surprise to find him greenlighting a full production of \u003cem>The Four Immigrants, an American Musical Manga\u003c/em>, a play developed at the company’s New Works Festival last year.\u003c/p>\n\u003cfigure id=\"attachment_13594149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg\" alt=\"An original illustration from the graphic novel 'The Four Immigrants' by Henry Kiyama, translated by Frederik L. Schodt\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1920x1611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1180x990.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-960x805.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-520x436.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original illustration from the graphic novel ‘The Four Immigrants’ by Henry Kiyama, translated by Frederik L. Schodt. \u003ccite>(Photo: Courtesy of Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playwright \u003ca href=\"http://www.minkahng.com/4imm/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng \u003c/a>of Alameda based the musical \u003ca href=\"https://en.wikipedia.org/wiki/The_Four_Immigrants_Manga\" target=\"_blank\" rel=\"noopener noreferrer\">on a graphic novel written by Henry Kiyama\u003c/a> in 1931, based on his own experiences in San Francisco in the early 20th century, a period that covered the 1906 earthquake, the 1918 flu epidemic, and the Panama-Pacific International Exposition. The show promises to be both a celebration of the way immigrants have always believed in the American dream, but also a cautionary tale of how unwelcoming the United States has been for many Asian-Americans and other immigrants. \u003ca href=\"https://www.theatreworks.org/201718-season/201718-season/the-four-immigrants/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg\" alt='\"Crossroads, General Store, North Carolina,\" by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California' width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crossroads, General Store, North Carolina,” by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California. \u003ccite>(Photo: Dorothea Lange Courtesy of the Oakland Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>\u003cem>Dorothea Lange: Politics of\u003c/em>\u003cbr>\n\u003cem> Seeing \u003c/em>is an exhibit showing that Lange, a journalist famous for her Depression era photos, was always working to fight injustice in her documentary work — whether covering poverty in the south (see above), migrants leaving the Midwest for California, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese-Americans facing internment\u003c/a>, or Public Defenders working for indigent clients. The pictures are always beautifully shot and framed, but for Lange, they only mattered if they provoked the viewer and brought reform. The show also shows how Lange influenced other photojournalists to expose poverty and injustice, among them Ken Light, who’s taught for years at the Journalism school at Cal Berkeley. Details for the exhibition at the Oakland Museum of California are \u003ca href=\"http://museumca.org/exhibit/dorothea-lange-politics-seeing\" target=\"_blank\" rel=\"noopener noreferrer\">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/0BRegAkk1A4'\n title='//www.youtube.com/embed/0BRegAkk1A4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 13\u003c/strong>: Tall Black Guy is a beat maker and music producer out of Chicago. His music is often in a laid-back groove, and remixes artists both well-known and obscure, including Sade and the South African singer Moonchild. Sarah says she likes how he tells a story through his beats and samples. And his tracks often tackle deep issues such as racism, inequality and privilege. Details for his show Thursday at the Continental Bar and Lounge in San Jose \u003ca href=\"https://www.facebook.com/events/1695706470738563/?__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A1695706470738563%2C%22event_type%22%3A%22clicked_view_profile%22%2C%22impression_info%22%3A%22eyJmIjp7InN0eWxlIjoiMzUiLCJwYWdlX2lkIjoiMTUzMjEyMjA0ODE5NDU2IiwicmVxdWVzdF9pZCI6Ik5qazVNek0zT1RjekxUQXVOemd3TkRJME1EQWdNVFE1T1RJNU9ETTBOeTB4TVRZME16VXlOVFExIn19%22%2C%22surface%22%3A%22www_pages_home%22%2C%22interacted_story_type%22%3A%22509240112603598%22%2C%22session_id%22%3A%22e35b7ded23b17bd1447db3fe3c0467c0%22%7D%7D\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593444\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg\" alt=\"KQED's Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to Sarah Sexton for co-hosting this week’s show!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After 36 Years, Founder of City Arts & Lectures Retires",
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"content": "\u003cp>After nearly four decades, the founder and longtime director of San Francisco-based \u003ca href=\"http://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a> is retiring.\u003c/p>\n\u003cp>Since founding the non-profit organization in 1980, Sydney Goldstein brought an array of A-list public figures to Bay Area audiences — initially at the College of Marin, then the Herbst Theatre, and in more recent times, the renovated Nourse Theater.\u003c/p>\n\u003cp>Roxane Gay, Whoopi Goldberg, Alec Baldwin, Tom Wolfe, Ta Nehisi-Coates and Edward Snowden are just a few names among the many to have appeared in San Francisco under the auspices of City Arts & Lectures over the years.\u003c/p>\n\u003cp>Goldstein also cultivated a roster of well-versed interviewers, including journalist Steven Winn and writer-publisher Dave Eggers.\u003c/p>\n\u003cfigure id=\"attachment_13593828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-800x451.jpg\" alt=\"Steven Winn (journalist:author and frequent City Arts & Lecturers interviewer) and Sydney Goldstein confer before Winn interviews Tina Fey.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Winn (journalist:author and frequent City Arts & Lecturers interviewer) and Sydney Goldstein confer before Winn interviews Tina Fey. \u003ccite>(Photo: Aubrie Pick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Goldstein’s major achievements in recent years was the \u003ca href=\"http://www.sfgate.com/entertainment/article/Nourse-auditorium-reborn-as-theater-4472982.php\" target=\"_blank\" rel=\"noopener noreferrer\">renovation of the 1,689-seat Nourse Theater\u003c/a> in San Francisco’s Hayes Valley neighborhood. With an annual operating budget of $1.5 million, the organization produces around 60 events at the venue a year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earlier in her tenure, Goldstein developed an enduring partnership with KQED. The ongoing, co-produced City Arts radio broadcasts can be heard on nearly 120 stations around the country today.\u003c/p>\n\u003cp>“Sydney has very strong and definite opinions,” says Nina Thorsen, the KQED producer responsible for repackaging City Arts events for broadcast since 1999. “She has the ability to jump into anybody’s conversation about anything and ask good questions.”\u003c/p>\n\u003cfigure id=\"attachment_13593829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593829\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-800x451.jpg\" alt=\"Kate Goldstein-Breyer & Holly Mulder-Wollan at City Arts & Lectures production office in Pacific Heights, San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate Goldstein-Breyer & Holly Mulder-Wollan at City Arts & Lectures production office in Pacific Heights, San Francisco. \u003ccite>(Photo: Courtesy of City Arts & Lectures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime City Arts employees Holly Mulder-Wollan and Kate Goldstein-Breyer — the latter being Sydney Goldstein’s daughter — will be the organization’s new co-directors. Goldstein will continue on as a consultant, mainly providing curatorial advice to the new leadership, Goldstein-Breyer says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The business is in a good place, and financially, things are healthy,” Goldstein-Breyer says. “Sydney could feel good about handing things off to Holly and me.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After nearly four decades, the founder and longtime director of San Francisco-based \u003ca href=\"http://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a> is retiring.\u003c/p>\n\u003cp>Since founding the non-profit organization in 1980, Sydney Goldstein brought an array of A-list public figures to Bay Area audiences — initially at the College of Marin, then the Herbst Theatre, and in more recent times, the renovated Nourse Theater.\u003c/p>\n\u003cp>Roxane Gay, Whoopi Goldberg, Alec Baldwin, Tom Wolfe, Ta Nehisi-Coates and Edward Snowden are just a few names among the many to have appeared in San Francisco under the auspices of City Arts & Lectures over the years.\u003c/p>\n\u003cp>Goldstein also cultivated a roster of well-versed interviewers, including journalist Steven Winn and writer-publisher Dave Eggers.\u003c/p>\n\u003cfigure id=\"attachment_13593828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-800x451.jpg\" alt=\"Steven Winn (journalist:author and frequent City Arts & Lecturers interviewer) and Sydney Goldstein confer before Winn interviews Tina Fey.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Steven-Winn-journalistauthor-and-frequent-City-Arts-Lecturers-interviewer-Sydney-Goldstein-confer-before-Winn-interviews-Tina-Fey-Photo-by-Aubrie-Pick-e1499293784171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Winn (journalist:author and frequent City Arts & Lecturers interviewer) and Sydney Goldstein confer before Winn interviews Tina Fey. \u003ccite>(Photo: Aubrie Pick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Goldstein’s major achievements in recent years was the \u003ca href=\"http://www.sfgate.com/entertainment/article/Nourse-auditorium-reborn-as-theater-4472982.php\" target=\"_blank\" rel=\"noopener noreferrer\">renovation of the 1,689-seat Nourse Theater\u003c/a> in San Francisco’s Hayes Valley neighborhood. With an annual operating budget of $1.5 million, the organization produces around 60 events at the venue a year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier in her tenure, Goldstein developed an enduring partnership with KQED. The ongoing, co-produced City Arts radio broadcasts can be heard on nearly 120 stations around the country today.\u003c/p>\n\u003cp>“Sydney has very strong and definite opinions,” says Nina Thorsen, the KQED producer responsible for repackaging City Arts events for broadcast since 1999. “She has the ability to jump into anybody’s conversation about anything and ask good questions.”\u003c/p>\n\u003cfigure id=\"attachment_13593829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593829\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-800x451.jpg\" alt=\"Kate Goldstein-Breyer & Holly Mulder-Wollan at City Arts & Lectures production office in Pacific Heights, San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Kate-Goldstein-Breyer-Holly-Mulder-Wollan-at-City-Arts-Lectures-production-office-e1499293839226-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate Goldstein-Breyer & Holly Mulder-Wollan at City Arts & Lectures production office in Pacific Heights, San Francisco. \u003ccite>(Photo: Courtesy of City Arts & Lectures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime City Arts employees Holly Mulder-Wollan and Kate Goldstein-Breyer — the latter being Sydney Goldstein’s daughter — will be the organization’s new co-directors. Goldstein will continue on as a consultant, mainly providing curatorial advice to the new leadership, Goldstein-Breyer says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The business is in a good place, and financially, things are healthy,” Goldstein-Breyer says. “Sydney could feel good about handing things off to Holly and me.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-film-claims-to-solve-the-mystery-of-amelia-earharts-fate",
"title": "A Film Claims to Solve the Mystery of Amelia Earhart's Fate",
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"headTitle": "A Film Claims to Solve the Mystery of Amelia Earhart’s Fate | KQED",
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"content": "\u003cp>The photo is haunting. Among a number of figures gathered on a dock, the fuzzy image seems to be that of a woman, her back to the camera, gazing at what may be her crippled aircraft loaded on a barge, and perhaps wondering what her future might hold.\u003c/p>\n\u003cp>Is this Amelia Earhart, the world-famous aviator, witnessed after her mysterious disappearance while attempting the first round-the-world flight 80 years ago this month?\u003c/p>\n\u003cp>That is the theory put forth in \u003cem>Amelia Earhart: The Lost Evidence\u003c/em>, a two-hour documentary airing Sunday on the History channel. It uncovers records, including this newly revealed photograph that shows what may be a healthy Earhart along with her navigator Fred Noonan, after they were last heard from.\u003c/p>\n\u003cp>The film also argues that after the pair crash-landed in the Japanese-held Marshall Islands, they were picked up by the Japanese military and that Earhart, perhaps presumed to be a U.S. spy, was held prisoner.\u003c/p>\n\u003cp>And there’s more: the United States government knew of her whereabouts and did nothing to rescue her, according to the film.\u003c/p>\n\u003cfigure id=\"attachment_13594146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg\" alt=\"Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \" width=\"800\" height=\"622\" class=\"size-medium wp-image-13594146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1180x918.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-960x747.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \u003ccite>(Courtesy of the National Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The disappearance of Earhart and Noonan on July 2, 1937, in the Western Pacific Ocean has gained legendary status among the age’s unsolved mysteries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By then she had already logged numerous aviation feats, including that of being the first woman to fly solo across the Atlantic Ocean in 1932. She reigned as an international hero.\u003c/p>\n\u003cp>And yet the U.S. government closed the book on its investigation just two weeks after her disappearance. Its vaguely worded findings were inconclusive.\u003c/p>\n\u003cp>Was there a cover-up? The film proposes there was.\u003c/p>\n\u003cp>The documentary is hosted by former FBI Executive Assistant Director Shawn Henry, whose fascination with the case is equaled by former U.S. Treasury Agent Les Kinney, who discovered the photo hidden and mislabeled in the U.S. National Archives.\u003c/p>\n\u003cp>In the documentary, that photo is subjected to facial-recognition and other forensic testing. It is judged authentic, and likely that of Earhart and Noonan.\u003c/p>\n\u003cp>The film also displays plane parts found in an uninhabited island of the Marshall Islands by Earhart investigator Dick Spink that are consistent with the aircraft that Earhart was flying on her round-the-world attempt. And it hears from the last living eyewitness who claims to have seen Earhart and Noonan after their crash.\u003c/p>\n\u003cp>The documentary tells of “a world-famous aviator who got caught up in an international dispute, was abandoned by her own government, and made the ultimate sacrifice,” Henry sums up. “She may very well be the first casualty of World War II.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>_____\u003cbr>\nOnline: http://www.history.com/specials/amelia-earhart-the-lost-evidence\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The photo is haunting. Among a number of figures gathered on a dock, the fuzzy image seems to be that of a woman, her back to the camera, gazing at what may be her crippled aircraft loaded on a barge, and perhaps wondering what her future might hold.\u003c/p>\n\u003cp>Is this Amelia Earhart, the world-famous aviator, witnessed after her mysterious disappearance while attempting the first round-the-world flight 80 years ago this month?\u003c/p>\n\u003cp>That is the theory put forth in \u003cem>Amelia Earhart: The Lost Evidence\u003c/em>, a two-hour documentary airing Sunday on the History channel. It uncovers records, including this newly revealed photograph that shows what may be a healthy Earhart along with her navigator Fred Noonan, after they were last heard from.\u003c/p>\n\u003cp>The film also argues that after the pair crash-landed in the Japanese-held Marshall Islands, they were picked up by the Japanese military and that Earhart, perhaps presumed to be a U.S. spy, was held prisoner.\u003c/p>\n\u003cp>And there’s more: the United States government knew of her whereabouts and did nothing to rescue her, according to the film.\u003c/p>\n\u003cfigure id=\"attachment_13594146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg\" alt=\"Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \" width=\"800\" height=\"622\" class=\"size-medium wp-image-13594146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1180x918.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-960x747.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \u003ccite>(Courtesy of the National Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The disappearance of Earhart and Noonan on July 2, 1937, in the Western Pacific Ocean has gained legendary status among the age’s unsolved mysteries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By then she had already logged numerous aviation feats, including that of being the first woman to fly solo across the Atlantic Ocean in 1932. She reigned as an international hero.\u003c/p>\n\u003cp>And yet the U.S. government closed the book on its investigation just two weeks after her disappearance. Its vaguely worded findings were inconclusive.\u003c/p>\n\u003cp>Was there a cover-up? The film proposes there was.\u003c/p>\n\u003cp>The documentary is hosted by former FBI Executive Assistant Director Shawn Henry, whose fascination with the case is equaled by former U.S. Treasury Agent Les Kinney, who discovered the photo hidden and mislabeled in the U.S. National Archives.\u003c/p>\n\u003cp>In the documentary, that photo is subjected to facial-recognition and other forensic testing. It is judged authentic, and likely that of Earhart and Noonan.\u003c/p>\n\u003cp>The film also displays plane parts found in an uninhabited island of the Marshall Islands by Earhart investigator Dick Spink that are consistent with the aircraft that Earhart was flying on her round-the-world attempt. And it hears from the last living eyewitness who claims to have seen Earhart and Noonan after their crash.\u003c/p>\n\u003cp>The documentary tells of “a world-famous aviator who got caught up in an international dispute, was abandoned by her own government, and made the ultimate sacrifice,” Henry sums up. “She may very well be the first casualty of World War II.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>_____\u003cbr>\nOnline: http://www.history.com/specials/amelia-earhart-the-lost-evidence\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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