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It has been restored,” said Andrew Wyatt, his spokesman.\u003c/p>\n\u003cp>Cosby’s wife of 53 years, Camille, slammed prosecutors for bringing the case to court, calling District Attorney Kevin Steele “heinously and exploitatively ambitious” in a statement released after court adjourned. She also attacked the judge, the accuser’s lawyers and the media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“How do I describe the judge? Overtly arrogant, collaborating with the district attorney,” said her statement, which was read by Wyatt.\u003c/p>\n\u003cp>Cosby himself didn’t comment. He remained stoic as the judge declared a mistrial, while Constand doled out hugs to her mother, prosecutors and some of the other women who say the TV star drugged and abused them.\u003c/p>\n\u003cp>District Attorney Kevin Steele planned a late-morning news conference.\u003c/p>\n\u003cp>The comedian’s career and good-guy image were already in tatters by the time his chief accuser took the stand and described how Cosby gave her pills and then penetrated her with his fingers as she lay paralyzed on a couch, unable to tell him to stop.\u003c/p>\n\u003cp>But the jurors clearly struggled with their verdict, telling the judge on Day 4 they were at impasse. Judge Steven O’Neill instructed them to keep working toward a unanimous decision. On Saturday, they came back and told O’Neill they were hopelessly deadlocked. It wasn’t immediately known how many jurors wanted to convict and how many wanted to acquit.\u003c/p>\n\u003cp>The judge sought to comfort the jurors, at least one of whom fought back tears, calling their epic deliberation “one of the more courageous acts, one of the more selfless acts that I’ve seen in the justice system. … I feel bad for all of you, I really do.”\u003c/p>\n\u003cp>He reminded prosecutors and the defense that “a mistrial is neither vindication nor victory for anybody.”\u003c/p>\n\u003cp>It was the only criminal case to arise from allegations from more than 60 women that cast Cosby as a serial predator who gave drugs to women before violating them.\u003c/p>\n\u003cp>He did not take the stand in his own defense, leaving it to his attorney to argue Cosby and Constand were lovers sharing a consensual sexual encounter. Lawyer Brian McMonagle told jurors that while Cosby had been unfaithful to his wife, he didn’t commit a crime.\u003c/p>\n\u003cp>“We’re talking about all the man’s tomorrows,” said McMonagle, urging acquittal of an icon in the twilight of life.\u003c/p>\n\u003cp>Cosby broke barriers as the first black actor to star in a network show, \u003cem>I Spy\u003c/em>, in the 1960s and created the top-ranked \u003cem>Cosby Show\u003c/em> two decades later, starring as kindly Dr. Cliff Huxtable. He found success with his \u003cem>Fat Albert\u003c/em> animated TV show and starred in commercials for Jello-O pudding.\u003c/p>\n\u003cp>But it was his reputation as a public moralist who urged young people to pull up their saggy pants and start acting responsibly that prompted a federal judge to unseal portions of an explosive deposition he gave more than a decade ago as part of Constand’s civil lawsuit against him.\u003c/p>\n\u003cp>In the deposition, released in 2015 at the request of The Associated Press, Cosby said he obtained several prescriptions for quaaludes in the 1970s and offered the now-banned sedatives to women he wanted to have sex with.\u003c/p>\n\u003cp>He also said he gave Constand three half-tablets of the cold and allergy medicine Benadryl before the “petting” began. Prosecutors suggested he drugged her with something stronger.\u003c/p>\n\u003cp>Constand, 44, initially went to police about a year after she said Cosby assaulted her, but a prosecutor declared her case too weak to bring charges.\u003c/p>\n\u003cp>A decade later, a new district attorney reopened the investigation after Cosby’s lurid testimony about drugs and sex became public, and dozens of women came forward against one of the most beloved stars in all of show business. He was charged shortly before the statute of limitation was set to expire.\u003c/p>\n\u003cp>McMonagle, in his closing argument, pointed out that Constand telephoned Cosby dozens of times after the alleged assault. Constand told the jury she was merely returning his calls about the women’s basketball squad at Temple University, where she was director of team operations and he was a member of the board of trustees.\u003c/p>\n\u003cp>“This isn’t talking to a trustee. This is talking to a lover,” McMonagle said of one call that lasted 49 minutes. “Why are we running from the truth of this case — this relationship? Why?”\u003c/p>\n\u003cp>He also tried to sow doubt about Constand’s story, saying it had evolved during her interviews with police.\u003c/p>\n\u003cp>But Steele, the district attorney, said it was no accident that some of Constand’s memories were faulty.\u003c/p>\n\u003cp>“There are some things in this case that should be fuzzy. Why? Because he drugged her to do this,” the prosecutor told jurors. “She spent a lot more time trying to forget what happened than trying to remember that night.”\u003c/p>\n\u003cp>Before going on trial, Cosby expressed hope he could eventually resume his career. But TV networks had long since scrapped plans for a comeback and pulled reruns from the air after his lurid deposition testimony became public.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand has done.\u003cbr>\n___\u003cbr>\nFor more on Cosby, including trial updates, historical photos, videos and an audio series exploring the case, visit http://www.apnews.com/tag/CosbyonTrial.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby’s trial on sexual assault charges ended in a mistrial Saturday after jurors failed to reach a unanimous decision in a case that helped destroy the 79-year-old comedian’s image as “America’s Dad.”\u003c/p>\n\u003cp>Jurors deliberated more than 52 hours over six days before telling a judge they couldn’t agree on whether “The Cosby Show” star drugged and molested Temple University employee Andrea Constand at his suburban Philadelphia home in 2004. The judge then declared a mistrial.\u003c/p>\n\u003cp>Prosecutors said they would retry Cosby, who remains charged with three counts of aggravated indecent assault. He is free on $1 million bail.\u003cbr>\nCosby’s team declared victory and went on the attack.\u003c/p>\n\u003cp>“Mr. Cosby’s power is back. It has been restored,” said Andrew Wyatt, his spokesman.\u003c/p>\n\u003cp>Cosby’s wife of 53 years, Camille, slammed prosecutors for bringing the case to court, calling District Attorney Kevin Steele “heinously and exploitatively ambitious” in a statement released after court adjourned. She also attacked the judge, the accuser’s lawyers and the media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“How do I describe the judge? Overtly arrogant, collaborating with the district attorney,” said her statement, which was read by Wyatt.\u003c/p>\n\u003cp>Cosby himself didn’t comment. He remained stoic as the judge declared a mistrial, while Constand doled out hugs to her mother, prosecutors and some of the other women who say the TV star drugged and abused them.\u003c/p>\n\u003cp>District Attorney Kevin Steele planned a late-morning news conference.\u003c/p>\n\u003cp>The comedian’s career and good-guy image were already in tatters by the time his chief accuser took the stand and described how Cosby gave her pills and then penetrated her with his fingers as she lay paralyzed on a couch, unable to tell him to stop.\u003c/p>\n\u003cp>But the jurors clearly struggled with their verdict, telling the judge on Day 4 they were at impasse. Judge Steven O’Neill instructed them to keep working toward a unanimous decision. On Saturday, they came back and told O’Neill they were hopelessly deadlocked. It wasn’t immediately known how many jurors wanted to convict and how many wanted to acquit.\u003c/p>\n\u003cp>The judge sought to comfort the jurors, at least one of whom fought back tears, calling their epic deliberation “one of the more courageous acts, one of the more selfless acts that I’ve seen in the justice system. … I feel bad for all of you, I really do.”\u003c/p>\n\u003cp>He reminded prosecutors and the defense that “a mistrial is neither vindication nor victory for anybody.”\u003c/p>\n\u003cp>It was the only criminal case to arise from allegations from more than 60 women that cast Cosby as a serial predator who gave drugs to women before violating them.\u003c/p>\n\u003cp>He did not take the stand in his own defense, leaving it to his attorney to argue Cosby and Constand were lovers sharing a consensual sexual encounter. Lawyer Brian McMonagle told jurors that while Cosby had been unfaithful to his wife, he didn’t commit a crime.\u003c/p>\n\u003cp>“We’re talking about all the man’s tomorrows,” said McMonagle, urging acquittal of an icon in the twilight of life.\u003c/p>\n\u003cp>Cosby broke barriers as the first black actor to star in a network show, \u003cem>I Spy\u003c/em>, in the 1960s and created the top-ranked \u003cem>Cosby Show\u003c/em> two decades later, starring as kindly Dr. Cliff Huxtable. He found success with his \u003cem>Fat Albert\u003c/em> animated TV show and starred in commercials for Jello-O pudding.\u003c/p>\n\u003cp>But it was his reputation as a public moralist who urged young people to pull up their saggy pants and start acting responsibly that prompted a federal judge to unseal portions of an explosive deposition he gave more than a decade ago as part of Constand’s civil lawsuit against him.\u003c/p>\n\u003cp>In the deposition, released in 2015 at the request of The Associated Press, Cosby said he obtained several prescriptions for quaaludes in the 1970s and offered the now-banned sedatives to women he wanted to have sex with.\u003c/p>\n\u003cp>He also said he gave Constand three half-tablets of the cold and allergy medicine Benadryl before the “petting” began. Prosecutors suggested he drugged her with something stronger.\u003c/p>\n\u003cp>Constand, 44, initially went to police about a year after she said Cosby assaulted her, but a prosecutor declared her case too weak to bring charges.\u003c/p>\n\u003cp>A decade later, a new district attorney reopened the investigation after Cosby’s lurid testimony about drugs and sex became public, and dozens of women came forward against one of the most beloved stars in all of show business. He was charged shortly before the statute of limitation was set to expire.\u003c/p>\n\u003cp>McMonagle, in his closing argument, pointed out that Constand telephoned Cosby dozens of times after the alleged assault. Constand told the jury she was merely returning his calls about the women’s basketball squad at Temple University, where she was director of team operations and he was a member of the board of trustees.\u003c/p>\n\u003cp>“This isn’t talking to a trustee. This is talking to a lover,” McMonagle said of one call that lasted 49 minutes. “Why are we running from the truth of this case — this relationship? Why?”\u003c/p>\n\u003cp>He also tried to sow doubt about Constand’s story, saying it had evolved during her interviews with police.\u003c/p>\n\u003cp>But Steele, the district attorney, said it was no accident that some of Constand’s memories were faulty.\u003c/p>\n\u003cp>“There are some things in this case that should be fuzzy. Why? Because he drugged her to do this,” the prosecutor told jurors. “She spent a lot more time trying to forget what happened than trying to remember that night.”\u003c/p>\n\u003cp>Before going on trial, Cosby expressed hope he could eventually resume his career. But TV networks had long since scrapped plans for a comeback and pulled reruns from the air after his lurid deposition testimony became public.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand has done.\u003cbr>\n___\u003cbr>\nFor more on Cosby, including trial updates, historical photos, videos and an audio series exploring the case, visit http://www.apnews.com/tag/CosbyonTrial.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After more than 30 hours of jury deliberations, there is still no conclusion to the sexual assault trial of comedian Bill Cosby.\u003c/p>\n\u003cp>The members of the jury say they are deadlocked and “cannot come to a unanimous consensus on any of these counts.” The judge has ordered jurors to return to deliberations and try — again — to reach a decision.\u003c/p>\n\u003cp>Cosby has been charged with multiple felony counts of aggravated indecent assault, over allegations that he drugged and molested Andrea Constand, then a Temple University employee, in 2004.\u003c/p>\n\u003cp>The prosecution spent a week presenting its case, and the defense less than a day. Cosby did not testify.\u003c/p>\n\u003cp>The jury deliberations have stretched across four days. Seven times, the jury returned to the judge with questions, asking to rehear portions of the testimony or asking for clarification on the language in a charge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday morning, the jurors told the judge they were deadlocked. Judge Steven O’Neill gave them instructions to try again, issuing a “dynamite charge” or “Allen charge,” intended to motivate an uncertain jury to reach a decision.\u003c/p>\n\u003cp>If convicted, Cosby, 79, could spend the rest of his life in prison: He has been charged with three second-degree felony counts, and each carries a minimum sentence of five years in prison.\u003c/p>\n\u003cp>Constand is not the only woman who says Cosby raped or sexually assaulted her. Dozens of women have come forward over the past several years, with stories that echo one another. But in most of those cases, the statute of limitations had expired by the time the women came forward. Constand’s case was the exception.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby’s defense team argues that the encounter was consensual and “romantic,” while prosecutors say it was one assault within a larger pattern of drugging and sexually assaulting women. \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=Cosby+Jury+Deadlocks%3B+Judge+Orders+Further+Deliberations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday morning, the jurors told the judge they were deadlocked. Judge Steven O’Neill gave them instructions to try again, issuing a “dynamite charge” or “Allen charge,” intended to motivate an uncertain jury to reach a decision.\u003c/p>\n\u003cp>If convicted, Cosby, 79, could spend the rest of his life in prison: He has been charged with three second-degree felony counts, and each carries a minimum sentence of five years in prison.\u003c/p>\n\u003cp>Constand is not the only woman who says Cosby raped or sexually assaulted her. Dozens of women have come forward over the past several years, with stories that echo one another. But in most of those cases, the statute of limitations had expired by the time the women came forward. Constand’s case was the exception.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby’s defense team argues that the encounter was consensual and “romantic,” while prosecutors say it was one assault within a larger pattern of drugging and sexually assaulting women. \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=Cosby+Jury+Deadlocks%3B+Judge+Orders+Further+Deliberations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yoko Ono will, legalities willing, be added as a songwriter to one of the most famous pop songs in the world — and John Lennon’s biggest solo hit — “Imagine.”\u003c/p>\n\u003cp>“Tonight, it is my distinct honor to correct the record some 48 years later,” David Israelite, president and CEO of the National Music Publishers’ Association, said Wednesday night in New York at his organization’s annual event.\u003c/p>\n\u003cp>Just before announcing Ono’s addition, a clip from a BBC interview with John Lennon was played in which he admits her centrality to its creation and his “macho” omission of her from its credits:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘Actually that should be credited as a Lennon-Ono song because a lot of it — the lyric and the concept — came from Yoko. But those days I was a bit more selfish, a bit more macho, and I sort of omitted to mention her contribution. But it was right out of \u003cem>Grapefruit\u003c/em>, her book.\u003c/p>\n\u003cp>” ‘There’s a whole pile of pieces about “Imagine this” and “Imagine that.” … But if it had been Bowie, I would have put “Lennon-Bowie,” you see. If it had been a male, you know. … Harry Nilsson — “Old Dirt Road,” it’s “Lennon-Nilsson.” But when we did [“Imagine”] I just put “Lennon” because, you know, she’s just the wife and you don’t put her name on, right?’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Ono’s and Lennon’s son Sean, who accompanied his wheelchair-bound mother to the ceremony, wrote afterward \u003ca href=\"https://www.facebook.com/seanlennon/photos/a.10151257927369431.485138.5438624430/10155383445214431/?type=3&theater\">in a Facebook post\u003c/a> that it was the proudest day of his life, describing tears welling in his mother’s eyes before Patti Smith sang the song.\u003c/p>\n\u003cp>Of course, as with most things on the business side of music, it’s not as simple as just adding Ono’s name to record sleeves. \u003ca href=\"http://variety.com/2017/biz/news/yoko-ono-to-receive-songwriting-credit-on-john-lennon-imagine-1202466645/\">Variety caught up\u003c/a> with Israelite after his speech, where he “noted there may be some opposition to the move at some point along the way,” in part due to the ripple effect the move would have on distributing payments for “Imagine.” Israelite also said the change had not been finalized at the time of the organization’s ceremony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ono’s prolific solo output — some, with no trace of irony, featuring a songwriting credit to John Lennon, as the anagrammatic “Joel Nohnn” — records are in the midst of a reissue campaign by the label Secretly Canadian. Last year, the label re-released 1968’s \u003cem>Unfinished Music No. 1: Two Virgins\u003c/em>, \u003cem>Unfinished Music No. 2: Life with the Lions \u003c/em>from 1969, and \u003cem>Plastic Ono Band\u003c/em>. On July 14,\u003cem> Fly\u003c/em>, the rock opera\u003cem> Approximately Infinite Universe\u003c/em> and \u003cem>Feeling The Space\u003c/em> from 1973 are slated for re-release.\u003c/p>\n\u003cp>Watch below to see Lennon, in an interview alongside Ono, describing the melody and lyrics of “Imagine” just ahead of its release in 1971. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EL4to_3p260\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=Yoko+Ono+To+Receive+Songwriting+Credit+On+%27Imagine%2C%27+48+Years+Later&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yoko Ono will, legalities willing, be added as a songwriter to one of the most famous pop songs in the world — and John Lennon’s biggest solo hit — “Imagine.”\u003c/p>\n\u003cp>“Tonight, it is my distinct honor to correct the record some 48 years later,” David Israelite, president and CEO of the National Music Publishers’ Association, said Wednesday night in New York at his organization’s annual event.\u003c/p>\n\u003cp>Just before announcing Ono’s addition, a clip from a BBC interview with John Lennon was played in which he admits her centrality to its creation and his “macho” omission of her from its credits:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘Actually that should be credited as a Lennon-Ono song because a lot of it — the lyric and the concept — came from Yoko. But those days I was a bit more selfish, a bit more macho, and I sort of omitted to mention her contribution. But it was right out of \u003cem>Grapefruit\u003c/em>, her book.\u003c/p>\n\u003cp>” ‘There’s a whole pile of pieces about “Imagine this” and “Imagine that.” … But if it had been Bowie, I would have put “Lennon-Bowie,” you see. If it had been a male, you know. … Harry Nilsson — “Old Dirt Road,” it’s “Lennon-Nilsson.” But when we did [“Imagine”] I just put “Lennon” because, you know, she’s just the wife and you don’t put her name on, right?’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Ono’s and Lennon’s son Sean, who accompanied his wheelchair-bound mother to the ceremony, wrote afterward \u003ca href=\"https://www.facebook.com/seanlennon/photos/a.10151257927369431.485138.5438624430/10155383445214431/?type=3&theater\">in a Facebook post\u003c/a> that it was the proudest day of his life, describing tears welling in his mother’s eyes before Patti Smith sang the song.\u003c/p>\n\u003cp>Of course, as with most things on the business side of music, it’s not as simple as just adding Ono’s name to record sleeves. \u003ca href=\"http://variety.com/2017/biz/news/yoko-ono-to-receive-songwriting-credit-on-john-lennon-imagine-1202466645/\">Variety caught up\u003c/a> with Israelite after his speech, where he “noted there may be some opposition to the move at some point along the way,” in part due to the ripple effect the move would have on distributing payments for “Imagine.” Israelite also said the change had not been finalized at the time of the organization’s ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ono’s prolific solo output — some, with no trace of irony, featuring a songwriting credit to John Lennon, as the anagrammatic “Joel Nohnn” — records are in the midst of a reissue campaign by the label Secretly Canadian. Last year, the label re-released 1968’s \u003cem>Unfinished Music No. 1: Two Virgins\u003c/em>, \u003cem>Unfinished Music No. 2: Life with the Lions \u003c/em>from 1969, and \u003cem>Plastic Ono Band\u003c/em>. On July 14,\u003cem> Fly\u003c/em>, the rock opera\u003cem> Approximately Infinite Universe\u003c/em> and \u003cem>Feeling The Space\u003c/em> from 1973 are slated for re-release.\u003c/p>\n\u003cp>Watch below to see Lennon, in an interview alongside Ono, describing the melody and lyrics of “Imagine” just ahead of its release in 1971. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EL4to_3p260'\n title='//www.youtube.com/embed/EL4to_3p260'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yoko+Ono+To+Receive+Songwriting+Credit+On+%27Imagine%2C%27+48+Years+Later&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year’s Bridge School Benefit has been canceled, and longtime host Neil Young will no longer be affiliated with the event.\u003c/p>\n\u003cp>On Wednesday, the Bridge School \u003ca href=\"https://bridgeschool.org/concert/news.php\" target=\"_blank\" rel=\"noopener\">posted on its website\u003c/a> statements from both Neil and his ex-wife Pegi Young about the cancellation. While Pegi told readers to “Stay tuned for updates as we begin to shape what the next steps will be,” Neil announced he was walking away from it.\u003c/p>\n\u003cp>“After thirty years of hosting the Bridge School Concerts, I would like to say thanks to everyone involved,” Neil Young wrote. “Of course, I love the students most of all because the light in their eyes tells me we have been doing the right thing for the last thirty years.” \u003c/p>\n\u003cp>Neil Young added at the end of the letter that he would no longer be hosting the event due to “personal reasons,” though he would still be involved in fundraising.\u003c/p>\n\u003cp>The long-running concert series at Mountain View’s Shoreline Amphitheater has become, to use Young’s words, “part of the Bay Area landscape.” The first show in 1996 featured Bruce Springsteen, Tom Petty and Crosby, Stills, Nash and Young, and the following lineups \u003ca href=\"https://en.wikipedia.org/wiki/Bridge_School_Benefit\" target=\"_blank\" rel=\"noopener\">continued to be star-studded\u003c/a>. Over the years, the concert raised millions for the school, which helps children with severe physical impairments and complex communication needs. Neil Young has two children with cerebral palsy. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Bridge School Benefit has been canceled, and longtime host Neil Young will no longer be affiliated with the event.\u003c/p>\n\u003cp>On Wednesday, the Bridge School \u003ca href=\"https://bridgeschool.org/concert/news.php\" target=\"_blank\" rel=\"noopener\">posted on its website\u003c/a> statements from both Neil and his ex-wife Pegi Young about the cancellation. While Pegi told readers to “Stay tuned for updates as we begin to shape what the next steps will be,” Neil announced he was walking away from it.\u003c/p>\n\u003cp>“After thirty years of hosting the Bridge School Concerts, I would like to say thanks to everyone involved,” Neil Young wrote. “Of course, I love the students most of all because the light in their eyes tells me we have been doing the right thing for the last thirty years.” \u003c/p>\n\u003cp>Neil Young added at the end of the letter that he would no longer be hosting the event due to “personal reasons,” though he would still be involved in fundraising.\u003c/p>\n\u003cp>The long-running concert series at Mountain View’s Shoreline Amphitheater has become, to use Young’s words, “part of the Bay Area landscape.” The first show in 1996 featured Bruce Springsteen, Tom Petty and Crosby, Stills, Nash and Young, and the following lineups \u003ca href=\"https://en.wikipedia.org/wiki/Bridge_School_Benefit\" target=\"_blank\" rel=\"noopener\">continued to be star-studded\u003c/a>. Over the years, the concert raised millions for the school, which helps children with severe physical impairments and complex communication needs. Neil Young has two children with cerebral palsy. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_HEU68f96w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x4tGJLqZ4-k\u003c/p>\n\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" 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/C_HEU68f96w'\n title='//www.youtube.com/embed/C_HEU68f96w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\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/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" 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/x4tGJLqZ4-k'\n title='//www.youtube.com/embed/x4tGJLqZ4-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anita Pallenberg, a model and actress who had children with Keith Richards and served as a muse for The Rolling Stones, has died. She was 75.\u003c/p>\n\u003cp>A spokesperson for Richards told The Associated Press that Pallenberg died Tuesday at St. Richard’s Hospital in the city of Chichester, located in southeast England. The cause of death was not revealed, but the statement released Wednesday said Pallenberg “had been ill for some time” and that her family was by her side.\u003c/p>\n\u003cp>“A most remarkable woman. Always in my heart,” Richards said in a statement.\u003c/p>\n\u003cp>Pallenberg was born on April 6, 1942. She served as inspiration for the Stones’ “Miss Amanda Jones” and “You Got the Silver.”\u003c/p>\n\u003cp>She appeared in films like \u003cem>Barbarella\u003c/em>, \u003cem>Candy\u003c/em>, \u003cem>Le Berceau de Cristal\u003c/em> and \u003cem>Performance\u003c/em>, which included Mick Jagger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pallenberg first dated the late Brian Jones of the Stones, but later dated Richards, with whom she had three children (their youngest son died months after he was born).\u003c/p>\n\u003cp>Pallenberg said in an interview with The Guardian in 2008 that she didn’t want to write her autobiography because publishers wanted dirt and drama about the Stones.\u003c/p>\n\u003cp>“I had several publishers and they were all the same. They all wanted salacious,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pallenberg will be cremated and a memorial service is being planned. She is survived by a son, a daughter and five grandchildren.\u003cbr>\n.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anita Pallenberg, a model and actress who had children with Keith Richards and served as a muse for The Rolling Stones, has died. She was 75.\u003c/p>\n\u003cp>A spokesperson for Richards told The Associated Press that Pallenberg died Tuesday at St. Richard’s Hospital in the city of Chichester, located in southeast England. The cause of death was not revealed, but the statement released Wednesday said Pallenberg “had been ill for some time” and that her family was by her side.\u003c/p>\n\u003cp>“A most remarkable woman. Always in my heart,” Richards said in a statement.\u003c/p>\n\u003cp>Pallenberg was born on April 6, 1942. She served as inspiration for the Stones’ “Miss Amanda Jones” and “You Got the Silver.”\u003c/p>\n\u003cp>She appeared in films like \u003cem>Barbarella\u003c/em>, \u003cem>Candy\u003c/em>, \u003cem>Le Berceau de Cristal\u003c/em> and \u003cem>Performance\u003c/em>, which included Mick Jagger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pallenberg first dated the late Brian Jones of the Stones, but later dated Richards, with whom she had three children (their youngest son died months after he was born).\u003c/p>\n\u003cp>Pallenberg said in an interview with The Guardian in 2008 that she didn’t want to write her autobiography because publishers wanted dirt and drama about the Stones.\u003c/p>\n\u003cp>“I had several publishers and they were all the same. They all wanted salacious,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pallenberg will be cremated and a memorial service is being planned. She is survived by a son, a daughter and five grandchildren.\u003cbr>\n.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Todd Barkan, Who Ran the Keystone Korner, to Receive National Honor",
"headTitle": "Todd Barkan, Who Ran the Keystone Korner, to Receive National Honor | KQED",
"content": "\u003cp>Todd Barkan, who ran San Francisco’s legendary jazz nightclub the Keystone Korner, will receive the nation’s highest honor for jazz artists, the National Endowment for the Arts’ (NEA) Jazz Master fellowship. \u003c/p>\n\u003cp>Barkan, pianist Joanne Brackeen, guitarist Pat Metheny and vocalist Diane Reeves are the 2018 recipients of the Jazz Master fellowships, which were announced at a concert Monday night at the John F. Kennedy Center in Washington D.C., where Metheny performed. Each of the winners will receive $25,000, and will be honored at a concert at the Kennedy Center next April.\u003c/p>\n\u003cfigure id=\"attachment_13435072\" class=\"wp-caption alignright\" style=\"max-width: 454px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg\" alt=\"Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \" width=\"454\" height=\"684\" class=\"size-full wp-image-13435072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg 454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-375x565.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003cfigcaption class=\"wp-caption-text\">Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \u003ccite>(Photo: Brian McMillen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barkan, 70, will receive the A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy for his decades as a \u003ca href=\"http://toddbarkan.com/2015/02/todd-barkan-wins-grammy-as-producer-of-best-latin-jazz-album-of-the-year/\" target=\"_blank\" rel=\"noopener\">Grammy-winning\u003c/a> producer and for his time at the Keystone, the North Beach club that pianist Mary Lou Williams once called “\u003ca href=\"http://blogs.artinfo.com/blunotes/2013/01/mary-lou-williams-speaks-the-keystone-korner-reborn/\" target=\"_blank\" rel=\"noopener\">the Birdland of the ’70s\u003c/a>.”\u003c/p>\n\u003cp>“It’s been a privilege beyond words to be able to provide some opportunity and space for these indispensable artists to swing and create together,” Barkan \u003ca href=\"https://www.facebook.com/todd.barkan.9/posts/1725039527511010?pnref=story\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “As Bobby Hutcherson told me quite a few times, and even wrote on the wall of the Keystone Korner, ‘True love asks nothing in return.'” \u003c/p>\n\u003cp>\u003ca href=\"https://www.arts.gov/honors/jazz/todd-barkan\" target=\"_blank\" rel=\"noopener\">Born in Nebraska and raised in Ohio\u003c/a>, Barkan says he discovered jazz at the age of 13 and swiftly became obsessed with the music, taking 1,000 jazz records with him instead of clothes when he left for college. In 1967, Barkan moved to San Francisco, and by the early ’70s he was working as a pianist in two groups, and looking for clubs to play. When he stopped into the Keystone Korner to ask then-owner Freddie Herrera for a gig, the Korner was primarily a rock club known for hosting guitar gods like Mike Bloomfield, Elvin Bishop, and Jerry Garcia. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I went to him and asked, ‘Why don’t you hire my band?'” Barkan said in \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">a recent interview with \u003cem>JazzTimes\u003c/em>\u003c/a>. “I gave him the press kit and demo, but he came back with, ‘I hate jazz. Can’t stand it. It doesn’t sell. But I’m opening a big rock club in Berkeley, the Keystone Berkeley. Why don’t you buy this joint and maybe you can turn it into something, do something with it?'”\u003c/p>\n\u003cfigure id=\"attachment_13428648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg\" alt=\"Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner\" width=\"800\" height=\"622\" class=\"size-medium wp-image-13428648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner. \u003ccite>(Photo: Tom Copi/Courtesy of Todd Barken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the owner of the Keystone, a tiny 200-seat venue on Vallejo Street, Barkan helped bring jazz back to San Francisco. The city had been \u003ca href=\"https://ww2.kqed.org/arts/2017/06/14/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it/\" target=\"_blank\" rel=\"noopener\">resplendent with jazz clubs\u003c/a> in the ’50s, but by the time Barkan bought the club for just $12,500, there \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">were little to none\u003c/a>. As soon as the club was up and running, Barkan brought big names that hadn’t been back to San Francisco for several years, like Art Blakey and Sonny Rollins.\u003c/p>\n\u003cp>Barkan also created a haven for jazz artists fighting to stay relevant when rock ruled the radio and the road. Several standout artists recorded albums at the Keystone, including Dexter Gordon, McCoy Tyner, and Rahsaan Roland Kirk, who was Barkan’s \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">mentor as a teenager\u003c/a>. The club gained such a reputation that artists who could fill much bigger venues, like Miles Davis and Stan Getz, frequently graced its stage. Its liquor license was paid for with a fundraiser in Oakland that featured Kirk, Tyner, and Elvin Jones, and another fundraiser featuring George Benson and Grover Washington Jr. paid for the club’s kitchen.\u003c/p>\n\u003cp>“Keystone Korner was — much like Bradley’s back in New York City — an absolutely indispensable part of the true jazz community,” bassist Ray Drummond, who used to play at the Keystone, said in a statement. “All kinds of musicians from all over the world looked forward to playing there.” \u003c/p>\n\u003cp>Barkan became known for his catchphrase, “Take care of the music and the music will take care of you.” But by 1983, jazz wasn’t taking care of the Keystone’s bills. After a Bill Graham-produced benefit at the Warfield raised only $1,500 — barely a dent in Barkan’s $50,000 tax bill — Barkan closed the club and left for New York. He came back to the Bay Area a few years later as a talent buyer for Yoshi’s in Oakland, but returned to New York in 1993 after an \u003ca href=\"http://www.mtv.com/news/1123381/producer-todd-barkan-on-the-past-and-future-of-jazz/\" target=\"_blank\" rel=\"noopener\">“unfriendly split”\u003c/a> with Yoshi’s owners. \u003c/p>\n\u003cp>Barkan went on to produce hundreds of records for labels such as Fantasy/Milestone, HighNote and 32 Records. He also continued to promote live jazz, becoming the director of programming for \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">Dizzy’s Club Coca-Cola at Jazz at Lincoln Center\u003c/a> for eight years. But Barkan seems at his proudest when he talks about running the Keystone, still remembered today as one of “\u003ca href=\"https://news.allaboutjazz.com/to-commemorate-keystone-korners-45th-anniversary-producer-todd-barkan-hosts-3-all-star-bay-area-shows-july-7-8.php\" target=\"_blank\" rel=\"noopener\">best jazz clubs in the world\u003c/a>.” \u003c/p>\n\u003cp>“The Keystone was really a labor of love to the very last day it was open. And I tried to have the best music in the world there every night,” Barkan said in 2011.\u003c/p>\n\u003cp>For this year’s 45th anniversary of the opening of the Keystone, Barkan will host a series of shows in the Bay Area on July 7 and 8. The concerts — held in Santa Cruz, Half Moon Bay and San Francisco — feature artists such as Charles McPherson, Gary Bartz and Denny Zeitlin. (Barkan has more information about the shows on his website, \u003ca href=\"http://toddbarkan.com/2017/05/45th-anniversary-celebration-of-keystone-korner/\" target=\"_blank\" rel=\"noopener\">toddbarkan.com\u003c/a>.)\u003c/p>\n\u003cp>\u003ci>Watch a slideshow of photos from the heyday of Keystone Korner that Barkan posted on YouTube below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SRVokXwa-e8 \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Todd Barkan, who ran San Francisco’s legendary jazz nightclub the Keystone Korner, will receive the nation’s highest honor for jazz artists, the National Endowment for the Arts’ (NEA) Jazz Master fellowship. \u003c/p>\n\u003cp>Barkan, pianist Joanne Brackeen, guitarist Pat Metheny and vocalist Diane Reeves are the 2018 recipients of the Jazz Master fellowships, which were announced at a concert Monday night at the John F. Kennedy Center in Washington D.C., where Metheny performed. Each of the winners will receive $25,000, and will be honored at a concert at the Kennedy Center next April.\u003c/p>\n\u003cfigure id=\"attachment_13435072\" class=\"wp-caption alignright\" style=\"max-width: 454px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg\" alt=\"Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \" width=\"454\" height=\"684\" class=\"size-full wp-image-13435072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg 454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-375x565.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003cfigcaption class=\"wp-caption-text\">Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \u003ccite>(Photo: Brian McMillen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barkan, 70, will receive the A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy for his decades as a \u003ca href=\"http://toddbarkan.com/2015/02/todd-barkan-wins-grammy-as-producer-of-best-latin-jazz-album-of-the-year/\" target=\"_blank\" rel=\"noopener\">Grammy-winning\u003c/a> producer and for his time at the Keystone, the North Beach club that pianist Mary Lou Williams once called “\u003ca href=\"http://blogs.artinfo.com/blunotes/2013/01/mary-lou-williams-speaks-the-keystone-korner-reborn/\" target=\"_blank\" rel=\"noopener\">the Birdland of the ’70s\u003c/a>.”\u003c/p>\n\u003cp>“It’s been a privilege beyond words to be able to provide some opportunity and space for these indispensable artists to swing and create together,” Barkan \u003ca href=\"https://www.facebook.com/todd.barkan.9/posts/1725039527511010?pnref=story\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “As Bobby Hutcherson told me quite a few times, and even wrote on the wall of the Keystone Korner, ‘True love asks nothing in return.'” \u003c/p>\n\u003cp>\u003ca href=\"https://www.arts.gov/honors/jazz/todd-barkan\" target=\"_blank\" rel=\"noopener\">Born in Nebraska and raised in Ohio\u003c/a>, Barkan says he discovered jazz at the age of 13 and swiftly became obsessed with the music, taking 1,000 jazz records with him instead of clothes when he left for college. In 1967, Barkan moved to San Francisco, and by the early ’70s he was working as a pianist in two groups, and looking for clubs to play. When he stopped into the Keystone Korner to ask then-owner Freddie Herrera for a gig, the Korner was primarily a rock club known for hosting guitar gods like Mike Bloomfield, Elvin Bishop, and Jerry Garcia. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I went to him and asked, ‘Why don’t you hire my band?'” Barkan said in \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">a recent interview with \u003cem>JazzTimes\u003c/em>\u003c/a>. “I gave him the press kit and demo, but he came back with, ‘I hate jazz. Can’t stand it. It doesn’t sell. But I’m opening a big rock club in Berkeley, the Keystone Berkeley. Why don’t you buy this joint and maybe you can turn it into something, do something with it?'”\u003c/p>\n\u003cfigure id=\"attachment_13428648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg\" alt=\"Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner\" width=\"800\" height=\"622\" class=\"size-medium wp-image-13428648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner. \u003ccite>(Photo: Tom Copi/Courtesy of Todd Barken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the owner of the Keystone, a tiny 200-seat venue on Vallejo Street, Barkan helped bring jazz back to San Francisco. The city had been \u003ca href=\"https://ww2.kqed.org/arts/2017/06/14/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it/\" target=\"_blank\" rel=\"noopener\">resplendent with jazz clubs\u003c/a> in the ’50s, but by the time Barkan bought the club for just $12,500, there \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">were little to none\u003c/a>. As soon as the club was up and running, Barkan brought big names that hadn’t been back to San Francisco for several years, like Art Blakey and Sonny Rollins.\u003c/p>\n\u003cp>Barkan also created a haven for jazz artists fighting to stay relevant when rock ruled the radio and the road. Several standout artists recorded albums at the Keystone, including Dexter Gordon, McCoy Tyner, and Rahsaan Roland Kirk, who was Barkan’s \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">mentor as a teenager\u003c/a>. The club gained such a reputation that artists who could fill much bigger venues, like Miles Davis and Stan Getz, frequently graced its stage. Its liquor license was paid for with a fundraiser in Oakland that featured Kirk, Tyner, and Elvin Jones, and another fundraiser featuring George Benson and Grover Washington Jr. paid for the club’s kitchen.\u003c/p>\n\u003cp>“Keystone Korner was — much like Bradley’s back in New York City — an absolutely indispensable part of the true jazz community,” bassist Ray Drummond, who used to play at the Keystone, said in a statement. “All kinds of musicians from all over the world looked forward to playing there.” \u003c/p>\n\u003cp>Barkan became known for his catchphrase, “Take care of the music and the music will take care of you.” But by 1983, jazz wasn’t taking care of the Keystone’s bills. After a Bill Graham-produced benefit at the Warfield raised only $1,500 — barely a dent in Barkan’s $50,000 tax bill — Barkan closed the club and left for New York. He came back to the Bay Area a few years later as a talent buyer for Yoshi’s in Oakland, but returned to New York in 1993 after an \u003ca href=\"http://www.mtv.com/news/1123381/producer-todd-barkan-on-the-past-and-future-of-jazz/\" target=\"_blank\" rel=\"noopener\">“unfriendly split”\u003c/a> with Yoshi’s owners. \u003c/p>\n\u003cp>Barkan went on to produce hundreds of records for labels such as Fantasy/Milestone, HighNote and 32 Records. He also continued to promote live jazz, becoming the director of programming for \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">Dizzy’s Club Coca-Cola at Jazz at Lincoln Center\u003c/a> for eight years. But Barkan seems at his proudest when he talks about running the Keystone, still remembered today as one of “\u003ca href=\"https://news.allaboutjazz.com/to-commemorate-keystone-korners-45th-anniversary-producer-todd-barkan-hosts-3-all-star-bay-area-shows-july-7-8.php\" target=\"_blank\" rel=\"noopener\">best jazz clubs in the world\u003c/a>.” \u003c/p>\n\u003cp>“The Keystone was really a labor of love to the very last day it was open. And I tried to have the best music in the world there every night,” Barkan said in 2011.\u003c/p>\n\u003cp>For this year’s 45th anniversary of the opening of the Keystone, Barkan will host a series of shows in the Bay Area on July 7 and 8. The concerts — held in Santa Cruz, Half Moon Bay and San Francisco — feature artists such as Charles McPherson, Gary Bartz and Denny Zeitlin. (Barkan has more information about the shows on his website, \u003ca href=\"http://toddbarkan.com/2017/05/45th-anniversary-celebration-of-keystone-korner/\" target=\"_blank\" rel=\"noopener\">toddbarkan.com\u003c/a>.)\u003c/p>\n\u003cp>\u003ci>Watch a slideshow of photos from the heyday of Keystone Korner that Barkan posted on YouTube below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SRVokXwa-e8 \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Francisco Finalizes Plans for Treasure Island Art",
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"content": "\u003cp>There isn’t much to look at around Treasure Island’s historic Administration Building -- just a parking lot and a snack shop. But the parking lot at one of the man-made island’s few legacy buildings is about to be transformed.\u003c/p>\n\u003cp>Developers and San Francisco officials plan to open a landscaped plaza there in early 2020, at the center of which will stand a major work of public art. The piece will be among the first of an estimated $50 million in art projects to be commissioned for Treasure and Yerba Buena islands over the next two decades.\u003c/p>\n\u003cp>The Treasure Island Development Authority (TIDA) votes tomorrow on a master plan to allocate that money. The plan includes temporary and permanent installations, artists’ residencies and a recurring \"treasure hunt\" in which guests will search for temporary works by local and international artists using a map.\u003c/p>\n\u003cp>The art is part of a multibillion-dollar development plan for Treasure Island that includes 8,000 units of housing, 300 acres of parks, a ferry terminal and one of the world's largest investments in public art.\u003c/p>\n\u003cp>The city of San Francisco has a mandate requiring all development projects of this nature to set aside 1 percent of their budgets for public art. The San Francisco Art Commission (SFAC), which is overseeing the implementation of the art on Treasure Island, approved the master plan in early June.\u003c/p>\n\u003cfigure id=\"attachment_11500430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11500430 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-160x75.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1020x478.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1920x899.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1180x553.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-960x450.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-240x112.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-375x176.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-520x244.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architectural rendering of the forthcoming new plaza in front of Treasure Island's Administration Building. \u003ccite>(Photo: Treasure Island Community Development/Andrea Cochran Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jill Manton, SFAC's director of Public Art Trust and Special Initiatives, says she hopes to commission work from artists working in a wide variety of media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I envision a program that is diverse and dynamic, from traditional or monumental free-standing sculpture, to performance and light projections that might be created specifically for the island,\" Manton says.\u003c/p>\n\u003cp>First in line for funding are three permanent installations, one along the island’s western edge, another at the top of the hill on Yerba Buena Island, and a third in front of the Administration Building.\u003c/p>\n\u003cp>Each work will adorn a newly designed public park. The developers hope to build a permanent public art collection for the island.\u003c/p>\n\u003cp>“I want a known artist, and a monumental piece that will say, ‘This is of stature,’” says Chris Meany of Treasure Island Community Development, LLC (TICD), the joint venture of private developers undertaking construction on the island.\u003c/p>\n\u003cp>These first pieces will likely be sculptures, and SFAC expects to send out a call for artists in the coming weeks. San Francisco and Treasure Island residents will be invited to review and provide input on the final proposals in early 2018.\u003c/p>\n\u003cp>“Public art is not always the result of popular opinion,\" Manton says. \"But we want the public to have the right to be heard.\" A selection panel of art experts and TIDA will make the final decision.\u003c/p>\n\u003cp>Each project will have a budget between $1 million and $2 million, and Manton hopes to draw top artists from all over the world. She says future projects will specifically welcome local artists with studios on the island.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, 12:34 p.m. Thursday, June 15:\u003c/strong> On June 14th, the Treasure Island Development Authority and San Francisco Arts Commission unanimously approved the $50 million allocation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There isn’t much to look at around Treasure Island’s historic Administration Building -- just a parking lot and a snack shop. But the parking lot at one of the man-made island’s few legacy buildings is about to be transformed.\u003c/p>\n\u003cp>Developers and San Francisco officials plan to open a landscaped plaza there in early 2020, at the center of which will stand a major work of public art. The piece will be among the first of an estimated $50 million in art projects to be commissioned for Treasure and Yerba Buena islands over the next two decades.\u003c/p>\n\u003cp>The Treasure Island Development Authority (TIDA) votes tomorrow on a master plan to allocate that money. The plan includes temporary and permanent installations, artists’ residencies and a recurring \"treasure hunt\" in which guests will search for temporary works by local and international artists using a map.\u003c/p>\n\u003cp>The art is part of a multibillion-dollar development plan for Treasure Island that includes 8,000 units of housing, 300 acres of parks, a ferry terminal and one of the world's largest investments in public art.\u003c/p>\n\u003cp>The city of San Francisco has a mandate requiring all development projects of this nature to set aside 1 percent of their budgets for public art. The San Francisco Art Commission (SFAC), which is overseeing the implementation of the art on Treasure Island, approved the master plan in early June.\u003c/p>\n\u003cfigure id=\"attachment_11500430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11500430 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-160x75.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1020x478.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1920x899.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1180x553.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-960x450.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-240x112.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-375x176.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-520x244.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architectural rendering of the forthcoming new plaza in front of Treasure Island's Administration Building. \u003ccite>(Photo: Treasure Island Community Development/Andrea Cochran Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jill Manton, SFAC's director of Public Art Trust and Special Initiatives, says she hopes to commission work from artists working in a wide variety of media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I envision a program that is diverse and dynamic, from traditional or monumental free-standing sculpture, to performance and light projections that might be created specifically for the island,\" Manton says.\u003c/p>\n\u003cp>First in line for funding are three permanent installations, one along the island’s western edge, another at the top of the hill on Yerba Buena Island, and a third in front of the Administration Building.\u003c/p>\n\u003cp>Each work will adorn a newly designed public park. The developers hope to build a permanent public art collection for the island.\u003c/p>\n\u003cp>“I want a known artist, and a monumental piece that will say, ‘This is of stature,’” says Chris Meany of Treasure Island Community Development, LLC (TICD), the joint venture of private developers undertaking construction on the island.\u003c/p>\n\u003cp>These first pieces will likely be sculptures, and SFAC expects to send out a call for artists in the coming weeks. San Francisco and Treasure Island residents will be invited to review and provide input on the final proposals in early 2018.\u003c/p>\n\u003cp>“Public art is not always the result of popular opinion,\" Manton says. \"But we want the public to have the right to be heard.\" A selection panel of art experts and TIDA will make the final decision.\u003c/p>\n\u003cp>Each project will have a budget between $1 million and $2 million, and Manton hopes to draw top artists from all over the world. She says future projects will specifically welcome local artists with studios on the island.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, 12:34 p.m. Thursday, June 15:\u003c/strong> On June 14th, the Treasure Island Development Authority and San Francisco Arts Commission unanimously approved the $50 million allocation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The state’s Arts Council has announced more than 1,000 grants statewide totaling $15 million. California’s plowing more money into the arts than ever before — but it’s not clear how long that will last.\u003c/p>\n\u003cp>The California Arts Council funds programs focused largely on veterans, former inmates and kids. The Council’s Director of Public Affairs Caitlin Fitzwater says this year’s record-setting budget will deliver new programs for pre-schools, as well as field trips, and after-school and summer programs.\u003c/p>\n\u003cp>“Young people, we know, want to come to school and stay in school in many cases, because they have arts programs,” Fitzwater said.\u003c/p>\n\u003cfigure id=\"attachment_13426433\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13426433\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg\" alt=\"The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council.\" width=\"600\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-520x738.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut.jpg 749w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council. \u003ccite>(Photo: Courtesy of Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, “providing high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“These are pretty significant for us,” Alvarado said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Organizations can also ask for more money this fiscal year: the maximum grant request has gone from $12,000 to 18,000.\u003c/p>\n\u003cp>\u003cstrong>How long will the good times last?\u003c/strong>\u003c/p>\n\u003cp>Brad Erickson, of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, explains the Council has been enjoying steady budget increases over the last four years after a long dry spell.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, after years of languishing near last place.\u003c/p>\n\u003cp>But Erickson warns much of the new spending comes in the form of huge one-time payments that constitute close to half of the council’s total budget. This year, that one-time allocation is $6.8 million out of $15 million.\u003c/p>\n\u003cp>“We still have a long way to go in terms of investing in the arts in the way that other states do,” Erickson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What happens to the budget next year? It’s anyone’s guess.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The state’s Arts Council has announced more than 1,000 grants statewide totaling $15 million. California’s plowing more money into the arts than ever before — but it’s not clear how long that will last.\u003c/p>\n\u003cp>The California Arts Council funds programs focused largely on veterans, former inmates and kids. The Council’s Director of Public Affairs Caitlin Fitzwater says this year’s record-setting budget will deliver new programs for pre-schools, as well as field trips, and after-school and summer programs.\u003c/p>\n\u003cp>“Young people, we know, want to come to school and stay in school in many cases, because they have arts programs,” Fitzwater said.\u003c/p>\n\u003cfigure id=\"attachment_13426433\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13426433\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg\" alt=\"The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council.\" width=\"600\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-520x738.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut.jpg 749w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council. \u003ccite>(Photo: Courtesy of Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, “providing high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“These are pretty significant for us,” Alvarado said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Organizations can also ask for more money this fiscal year: the maximum grant request has gone from $12,000 to 18,000.\u003c/p>\n\u003cp>\u003cstrong>How long will the good times last?\u003c/strong>\u003c/p>\n\u003cp>Brad Erickson, of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, explains the Council has been enjoying steady budget increases over the last four years after a long dry spell.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, after years of languishing near last place.\u003c/p>\n\u003cp>But Erickson warns much of the new spending comes in the form of huge one-time payments that constitute close to half of the council’s total budget. This year, that one-time allocation is $6.8 million out of $15 million.\u003c/p>\n\u003cp>“We still have a long way to go in terms of investing in the arts in the way that other states do,” Erickson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What happens to the budget next year? It’s anyone’s guess.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill Cosby’s trial raced toward a close Monday, with his lawyer telling the jury that the comedian and the woman who accuses him of drugging and molesting her were lovers who had enjoyed secret “romantic interludes.”\u003c/p>\n\u003cp>Declining to take the stand in his own defense, the 79-year-old TV star left it to his attorney to argue that Cosby’s 2004 sexual encounter with Andrea Constand was consensual. Lawyer Brian McMonagle said in his closing argument that while Cosby had been unfaithful to his wife, he didn’t commit a crime.\u003c/p>\n\u003cp>McMonagle pointed out that Constand telephoned Cosby dozens of times after the alleged assault. Constand told the jury she was merely returning his calls about the women’s basketball squad at Temple University, where she worked as director of team operations and he was a member of the board of trustees.\u003c/p>\n\u003cp>“This isn’t talking to a trustee. This is talking to a lover,” McMonagle said of one call that lasted 49 minutes. “Why are we running from the truth of this case — this relationship? Why? I don’t understand it.”\u003c/p>\n\u003cp>Cosby’s wife of 53 years, Camille — in the courtroom for the first time in the 6-day-old trial — was stoic during the defense argument. She sat in the front row, across the aisle from Constand, who didn’t react to McMonagle’s two-hour closing but smiled at the end of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby could spend the rest of his life in prison if convicted.\u003c/p>\n\u003cp>The prosecution was expected to deliver its closing argument in the afternoon, and the jury could get the case later in the day.\u003c/p>\n\u003cp>Constand, 44, testified last week that Cosby gave her three blue pills and then penetrated her with her fingers against her will as she lay paralyzed and half-conscious. She sued Cosby after prosecutors in 2005 declined to press charges.\u003c/p>\n\u003cp>Cosby testified over a decade ago as part of her lawsuit, eventually settling the case for an undisclosed sum. His deposition was sealed for years\u003cbr>\nuntil a judge released parts in 2015 at the request of The Associated Press, prompting a new set of prosecutors to take a fresh look at the case.\u003c/p>\n\u003cp>Cosby was charged a year and a half ago, just before the statute of limitations was set to run out. The case and a barrage of similar allegations from some 60 other women have shattered his nice-guy image from “The Cosby Show” as America’s Dad.\u003c/p>\n\u003cp>McMonagle told jurors that Cosby’s freedom is at stake now, not just his finances.\u003c/p>\n\u003cp>“This is not a civil case about money, money, money. We’re talking about all the man’s tomorrows,” he said.\u003c/p>\n\u003cp>McMonagle used a big screen to show jurors how Constand’s story evolved and details changed over three interviews she gave to police after coming forward about a year after she says he assaulted her at his suburban Philadelphia home.\u003c/p>\n\u003cp>McMonagle noted that Constand initially had trouble pinpointing when the assault occurred, telling police in one interview it happened in March 2004 and in others that it was January 2004.\u003c/p>\n\u003cp>He said Constand told police in her first interview that she had never been alone with Cosby before the alleged attack, but later admitted she had spent time alone with him at his home and at a Connecticut casino resort.\u003c/p>\n\u003cp>Cosby told police they had been romantic three times before. His count includes times he said he brushed her leg or cupped her face in his hands.\u003cbr>\nConstand said she twice rebuffed his efforts, including one time when he tried to unzip her pants. Cosby told police he succeeded.\u003c/p>\n\u003cp>“Why on earth would you go to the Foxwoods casino in Connecticut, into a man’s bedroom, after a man unbuttons your pants and puts his hands down your pants?” McMonagle asked.\u003c/p>\n\u003cp>While Cosby opted not to testify, prosecutors were expected to remind jurors about the statements he made in his deposition. Testifying under oath in 2005, Cosby said he obtained several prescriptions for quaaludes in the 1970s and offered the now-banned sedatives to women he wanted to have sex with.\u003c/p>\n\u003cp>He also said he gave Constand three half-tablets of the cold and allergy medicine Benadryl before the “petting” began. Prosecutors have suggested he drugged her with something stronger — perhaps quaaludes.\u003c/p>\n\u003cp>Earlier Monday, Cosby’s lawyers put on a case consisting of just one witness and six minutes of testimony before resting their case, calling the detective who led the 2005 investigation.\u003c/p>\n\u003cp>Detective Richard Schaffer was one of 12 witnesses who testified during the prosecution case. In his six-minute appearance Monday, Shaffer said that Constand had visited with Cosby at an out-of-state casino and that police knew he had vision problems more than a decade ago. Cosby has said he is legally blind because of glaucoma.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand has done.\u003cbr>\n___\u003cbr>\nFor more on Cosby, including trial updates, historical photos, videos and an audio series exploring the case, visit: www.apnews.com/tag/CosbyonTrial\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby’s trial raced toward a close Monday, with his lawyer telling the jury that the comedian and the woman who accuses him of drugging and molesting her were lovers who had enjoyed secret “romantic interludes.”\u003c/p>\n\u003cp>Declining to take the stand in his own defense, the 79-year-old TV star left it to his attorney to argue that Cosby’s 2004 sexual encounter with Andrea Constand was consensual. Lawyer Brian McMonagle said in his closing argument that while Cosby had been unfaithful to his wife, he didn’t commit a crime.\u003c/p>\n\u003cp>McMonagle pointed out that Constand telephoned Cosby dozens of times after the alleged assault. Constand told the jury she was merely returning his calls about the women’s basketball squad at Temple University, where she worked as director of team operations and he was a member of the board of trustees.\u003c/p>\n\u003cp>“This isn’t talking to a trustee. This is talking to a lover,” McMonagle said of one call that lasted 49 minutes. “Why are we running from the truth of this case — this relationship? Why? I don’t understand it.”\u003c/p>\n\u003cp>Cosby’s wife of 53 years, Camille — in the courtroom for the first time in the 6-day-old trial — was stoic during the defense argument. She sat in the front row, across the aisle from Constand, who didn’t react to McMonagle’s two-hour closing but smiled at the end of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby could spend the rest of his life in prison if convicted.\u003c/p>\n\u003cp>The prosecution was expected to deliver its closing argument in the afternoon, and the jury could get the case later in the day.\u003c/p>\n\u003cp>Constand, 44, testified last week that Cosby gave her three blue pills and then penetrated her with her fingers against her will as she lay paralyzed and half-conscious. She sued Cosby after prosecutors in 2005 declined to press charges.\u003c/p>\n\u003cp>Cosby testified over a decade ago as part of her lawsuit, eventually settling the case for an undisclosed sum. His deposition was sealed for years\u003cbr>\nuntil a judge released parts in 2015 at the request of The Associated Press, prompting a new set of prosecutors to take a fresh look at the case.\u003c/p>\n\u003cp>Cosby was charged a year and a half ago, just before the statute of limitations was set to run out. The case and a barrage of similar allegations from some 60 other women have shattered his nice-guy image from “The Cosby Show” as America’s Dad.\u003c/p>\n\u003cp>McMonagle told jurors that Cosby’s freedom is at stake now, not just his finances.\u003c/p>\n\u003cp>“This is not a civil case about money, money, money. We’re talking about all the man’s tomorrows,” he said.\u003c/p>\n\u003cp>McMonagle used a big screen to show jurors how Constand’s story evolved and details changed over three interviews she gave to police after coming forward about a year after she says he assaulted her at his suburban Philadelphia home.\u003c/p>\n\u003cp>McMonagle noted that Constand initially had trouble pinpointing when the assault occurred, telling police in one interview it happened in March 2004 and in others that it was January 2004.\u003c/p>\n\u003cp>He said Constand told police in her first interview that she had never been alone with Cosby before the alleged attack, but later admitted she had spent time alone with him at his home and at a Connecticut casino resort.\u003c/p>\n\u003cp>Cosby told police they had been romantic three times before. His count includes times he said he brushed her leg or cupped her face in his hands.\u003cbr>\nConstand said she twice rebuffed his efforts, including one time when he tried to unzip her pants. Cosby told police he succeeded.\u003c/p>\n\u003cp>“Why on earth would you go to the Foxwoods casino in Connecticut, into a man’s bedroom, after a man unbuttons your pants and puts his hands down your pants?” McMonagle asked.\u003c/p>\n\u003cp>While Cosby opted not to testify, prosecutors were expected to remind jurors about the statements he made in his deposition. Testifying under oath in 2005, Cosby said he obtained several prescriptions for quaaludes in the 1970s and offered the now-banned sedatives to women he wanted to have sex with.\u003c/p>\n\u003cp>He also said he gave Constand three half-tablets of the cold and allergy medicine Benadryl before the “petting” began. Prosecutors have suggested he drugged her with something stronger — perhaps quaaludes.\u003c/p>\n\u003cp>Earlier Monday, Cosby’s lawyers put on a case consisting of just one witness and six minutes of testimony before resting their case, calling the detective who led the 2005 investigation.\u003c/p>\n\u003cp>Detective Richard Schaffer was one of 12 witnesses who testified during the prosecution case. In his six-minute appearance Monday, Shaffer said that Constand had visited with Cosby at an out-of-state casino and that police knew he had vision problems more than a decade ago. Cosby has said he is legally blind because of glaucoma.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand has done.\u003cbr>\n___\u003cbr>\nFor more on Cosby, including trial updates, historical photos, videos and an audio series exploring the case, visit: www.apnews.com/tag/CosbyonTrial\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"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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}
},
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"id": "forum",
"title": "Forum",
"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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
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