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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 41-foot-high art installation that the city of San Francisco planned to unveil as part of its new $6 billion \u003ca href=\"http://transbaycenter.org/project/transit-center\" target=\"_blank\" rel=\"noopener noreferrer\">Transbay Transit Center\u003c/a> has been canceled and its lead artist released from his contract.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) and Transbay Joint Powers Authority (TJPA) hired artist \u003ca href=\"http://transbaycenter.org/artists/tim-hawkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Tim Hawkinson\u003c/a> to create the installation using materials salvaged from the old Transbay Terminal. It was to be one of five major public art installations planned for the new center.\u003c/p>\n\u003cp>The art installation was originally budgeted at $1.67 million. But the TJPA and SFAC decided to cancel the project after they realized that the actual cost of completing the artwork would come in around $3.7 million. They also said the project would be overdue and it wouldn’t debut until after the transit center opened.\u003c/p>\n\u003cp>In a statement released Wednesday, the TJPA said the sculpture “has proven to be a particularly complex engineering task.” The statement cited “the nature of the materials, the sculpture’s size, and its location” as reasons for the cancellation.\u003c/p>\n\u003cp>In a statement sent to KQED, SFAC spokeswoman Kate Patterson cited many of the same reasons. Patterson also said she hopes SFAC will get to work with the artist again. “Tim Hawkinson is a brilliant artist,” Patterson said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The TJPA said it has spent $840,000 of the original budget on salvaging and moving materials for the project and paying Hawkinson his full $200,000 artist fee. The TJPA expects to save $830,000 of the original budget and hasn’t said what it plans to do with the remaining money or if it will hire another artist and install a new sculpture.\u003c/p>\n\u003cp>Hawkinson couldn’t be reached for comment. But Dianne Dec, Hawkinson’s gallerist, defended the artist. “There have just been extensive delays in the whole construction project,” she said. “But it wasn’t an issue that the artist hadn’t delivered on his promise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of San Francisco’s biggest projects to date, the transit center is designed to be a five-story hub that will connect passengers with Caltrain, BART, Muni and Amtrak, among other services. It is also expected to house retail shops and include a 5.4-acre park on its roof.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \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=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \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=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roscoe Mitchell, the influential saxophonist known for groundbreaking work in jazz and orchestral music, is in danger of losing his job at Mills College due to the Oakland-based university’s financial problems. \u003c/p>\n\u003cp>A founding member of the Art Ensemble of Chicago who was once described as “\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the most important musicians in jazz\u003c/a>” by the \u003cem>New York Times\u003c/em>, Mitchell is one of 11 faculty members expected to lose his position. Currently, he is also the only African-American full-time faculty member in the music department, according to Chris Brown, the co-director at the \u003ca href=\"https://www.mills.edu/academics/faculty/mus/cbmus/cbmus.php\" target=\"_blank\" rel=\"noopener\">Mills College Center for Contemporary Music\u003c/a> who on Wednesday \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">made public\u003c/a> the administration’s plans.\u003c/p>\n\u003cp>Reached by email, Mitchell, 76, remained stoic about the news. “I am not angry or nervous,” he told KQED. “I am more concerned about the college and the other professors who got the same letter as I did.”\u003c/p>\n\u003cp>Mitchell also stressed that his position at Mills was “more than a job” to him, and praised the musical contributions of his fellow faculty, “especially in this era, where the groundbreaking concepts they have championed for decades are gaining significant traction and recognition.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7I9UwLkljDs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In May, Mills College \u003ca href=\"https://www.insidehighered.com/news/2017/05/17/mills-college-declares-financial-emergency-and-plans-layoffs-and-curricular-reform\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that its operating deficit had grown to $9 million. With an annual budget of $57 million, officials at the 165-year-old school declared it needed to take transformative actions, which were outlined in a \u003ca href=\"https://www.mills.edu/administration/presidents_office/documents/MillsCollege_DraftFinancialStabilizationPlan_24MAY17.pdf\" target=\"_blank\" rel=\"noopener\">financial stabilization plan\u003c/a> (FSP).\u003c/p>\n\u003cp>From a statement from the \u003ca href=\"https://www.mills.edu/administration/presidents_office/mills-next.php\" target=\"_blank\" rel=\"noopener\">office of the president’s website\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nLike so many colleges and universities across the country today — particularly small independent liberal arts colleges — Mills has faced financial challenges in recent years. Despite having worked diligently to control costs and diversify revenues, Mills has been unable to correct a very large imbalance in our finances. \u003c/p>\u003c/blockquote>\n\u003cp>If the school’s board of trustees approves the plan in its current format its meeting on June 26, Mitchell will be one of at least 30 employees let go. The school insists it will keep the Darius Milhaud Chair in Composition, a position started by \u003ca href=\"https://www.mills.edu/academics/graduate/mus/programs/music_at_mills_history.php\" target=\"_blank\" rel=\"noopener\">an endowment in 1978\u003c/a> that has employed notable composers such as Mitchell, Anthony Braxton and Pauline Oliveros. \u003c/p>\n\u003cfigure id=\"attachment_13395607\" 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/Roscoe-Mitchell-800x533.jpg\" alt=\"Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13395607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009. \u003ccite>(Michael Höfner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown, who was on the search committee that hired Mitchell in 2007, said that if Mills cuts Mitchell’s position, it would lose its most senior and best-known composer, “an African-American master who has had a profound influence on both the jazz and classical music fields.”\u003c/p>\n\u003cp>“Students have come from around the world to study with him, and many of them wind up performing and recording with his ensembles,” Brown wrote in an email. “Roscoe has had a profound influence in the Bay Area on its creative music scene, beginning in the 1960s while the Art Ensemble of Chicago was in residence at Stanford University. It would be a shame to have this influence end in this manner.”\u003c/p>\n\u003cp>Mitchell grew up in Chicago, and started playing saxophone and clarinet at age 12. After a stint playing in the army band, Mitchell helped start the \u003ca href=\"https://www.nytimes.com/2015/03/08/arts/music/50-years-on-association-for-advancement-of-creative-musicians-influences-jazz.html\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> [AACM] to provide support and empowerment for black jazz musicians at a time when rock and folk music were prevalent, and when the presentation of jazz was largely in the hands of white promoters and producers. \u003c/p>\n\u003cp>Mitchell would eventually recruit some AACM members into his own group, the Roscoe Mitchell Sextet, which transformed into the Art Ensemble of Chicago. The band swiftly became influential for its group approach to avant-garde jazz improvisation, its use of unconventional instruments (bicycle horns, wind chimes, etc), and eye-catching costumes and face paint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OZV6FzLeWeo\u003c/p>\n\u003cp>Now 76, Mitchell continues to compose both jazz and orchestral works. This year he released two new recordings — \u003cem>Bells for the South Side\u003c/em> and \u003cem>Four Ways\u003c/em> with Yuganaut — and his works for symphony orchestra have been performed at BBC-sponsored concerts all over Europe. In the past year, he premiered major works in both Iceland and Italy. Currently, he is preparing for “Roscoe Mitchell x 197, ‘Conversations for Orchestra’: a Collaboration of Music and Sculpture,” a large-scale collaboration with sculptor Leonardo Drew and a 34-piece orchestra, including colleagues and alumni from Mills, to be presented at San Francisco’s de Young Museum in September. \u003c/p>\n\u003cp>Brown started an \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">online campaign\u003c/a> asking students and fans to write Mills officials in the hopes that the board will change its plan. Brown admits that “it doesn’t look good” for Mitchell, but that perhaps there are other solutions, such as finding individuals who could fund an endowment. \u003c/p>\n\u003cp>“The history of financial problems at Mills is a long one, but this proposed solution radically strikes at the heart of its reputation for innovation and excellence in the arts,” Brown wrote in his Facebook post. \u003c/p>\n\u003cp>Brown’s post has been shared dozens of times and many supporters have included their own statements, pointing out Mitchell’s generosity and passion. Mitchell said he’s seen the support online and found it gratifying.\u003c/p>\n\u003cp>“I am humbled,” he told KQED, “that so many people care about me and my work. At this point in my life one of the main things that matters to me is learning.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n‘\u003cbr>\n\u003ci>\u003cstrong>Correction:\u003c/strong> A previous version of this story stated that the school would be cutting the Darius Milhaud Chair in Composition. The school plans to keep the position.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roscoe Mitchell, the influential saxophonist known for groundbreaking work in jazz and orchestral music, is in danger of losing his job at Mills College due to the Oakland-based university’s financial problems. \u003c/p>\n\u003cp>A founding member of the Art Ensemble of Chicago who was once described as “\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the most important musicians in jazz\u003c/a>” by the \u003cem>New York Times\u003c/em>, Mitchell is one of 11 faculty members expected to lose his position. Currently, he is also the only African-American full-time faculty member in the music department, according to Chris Brown, the co-director at the \u003ca href=\"https://www.mills.edu/academics/faculty/mus/cbmus/cbmus.php\" target=\"_blank\" rel=\"noopener\">Mills College Center for Contemporary Music\u003c/a> who on Wednesday \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">made public\u003c/a> the administration’s plans.\u003c/p>\n\u003cp>Reached by email, Mitchell, 76, remained stoic about the news. “I am not angry or nervous,” he told KQED. “I am more concerned about the college and the other professors who got the same letter as I did.”\u003c/p>\n\u003cp>Mitchell also stressed that his position at Mills was “more than a job” to him, and praised the musical contributions of his fellow faculty, “especially in this era, where the groundbreaking concepts they have championed for decades are gaining significant traction and recognition.” \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/7I9UwLkljDs'\n title='//www.youtube.com/embed/7I9UwLkljDs'\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>In May, Mills College \u003ca href=\"https://www.insidehighered.com/news/2017/05/17/mills-college-declares-financial-emergency-and-plans-layoffs-and-curricular-reform\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that its operating deficit had grown to $9 million. With an annual budget of $57 million, officials at the 165-year-old school declared it needed to take transformative actions, which were outlined in a \u003ca href=\"https://www.mills.edu/administration/presidents_office/documents/MillsCollege_DraftFinancialStabilizationPlan_24MAY17.pdf\" target=\"_blank\" rel=\"noopener\">financial stabilization plan\u003c/a> (FSP).\u003c/p>\n\u003cp>From a statement from the \u003ca href=\"https://www.mills.edu/administration/presidents_office/mills-next.php\" target=\"_blank\" rel=\"noopener\">office of the president’s website\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nLike so many colleges and universities across the country today — particularly small independent liberal arts colleges — Mills has faced financial challenges in recent years. Despite having worked diligently to control costs and diversify revenues, Mills has been unable to correct a very large imbalance in our finances. \u003c/p>\u003c/blockquote>\n\u003cp>If the school’s board of trustees approves the plan in its current format its meeting on June 26, Mitchell will be one of at least 30 employees let go. The school insists it will keep the Darius Milhaud Chair in Composition, a position started by \u003ca href=\"https://www.mills.edu/academics/graduate/mus/programs/music_at_mills_history.php\" target=\"_blank\" rel=\"noopener\">an endowment in 1978\u003c/a> that has employed notable composers such as Mitchell, Anthony Braxton and Pauline Oliveros. \u003c/p>\n\u003cfigure id=\"attachment_13395607\" 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/Roscoe-Mitchell-800x533.jpg\" alt=\"Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13395607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009. \u003ccite>(Michael Höfner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown, who was on the search committee that hired Mitchell in 2007, said that if Mills cuts Mitchell’s position, it would lose its most senior and best-known composer, “an African-American master who has had a profound influence on both the jazz and classical music fields.”\u003c/p>\n\u003cp>“Students have come from around the world to study with him, and many of them wind up performing and recording with his ensembles,” Brown wrote in an email. “Roscoe has had a profound influence in the Bay Area on its creative music scene, beginning in the 1960s while the Art Ensemble of Chicago was in residence at Stanford University. It would be a shame to have this influence end in this manner.”\u003c/p>\n\u003cp>Mitchell grew up in Chicago, and started playing saxophone and clarinet at age 12. After a stint playing in the army band, Mitchell helped start the \u003ca href=\"https://www.nytimes.com/2015/03/08/arts/music/50-years-on-association-for-advancement-of-creative-musicians-influences-jazz.html\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> [AACM] to provide support and empowerment for black jazz musicians at a time when rock and folk music were prevalent, and when the presentation of jazz was largely in the hands of white promoters and producers. \u003c/p>\n\u003cp>Mitchell would eventually recruit some AACM members into his own group, the Roscoe Mitchell Sextet, which transformed into the Art Ensemble of Chicago. The band swiftly became influential for its group approach to avant-garde jazz improvisation, its use of unconventional instruments (bicycle horns, wind chimes, etc), and eye-catching costumes and face paint.\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/OZV6FzLeWeo'\n title='//www.youtube.com/embed/OZV6FzLeWeo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now 76, Mitchell continues to compose both jazz and orchestral works. This year he released two new recordings — \u003cem>Bells for the South Side\u003c/em> and \u003cem>Four Ways\u003c/em> with Yuganaut — and his works for symphony orchestra have been performed at BBC-sponsored concerts all over Europe. In the past year, he premiered major works in both Iceland and Italy. Currently, he is preparing for “Roscoe Mitchell x 197, ‘Conversations for Orchestra’: a Collaboration of Music and Sculpture,” a large-scale collaboration with sculptor Leonardo Drew and a 34-piece orchestra, including colleagues and alumni from Mills, to be presented at San Francisco’s de Young Museum in September. \u003c/p>\n\u003cp>Brown started an \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">online campaign\u003c/a> asking students and fans to write Mills officials in the hopes that the board will change its plan. Brown admits that “it doesn’t look good” for Mitchell, but that perhaps there are other solutions, such as finding individuals who could fund an endowment. \u003c/p>\n\u003cp>“The history of financial problems at Mills is a long one, but this proposed solution radically strikes at the heart of its reputation for innovation and excellence in the arts,” Brown wrote in his Facebook post. \u003c/p>\n\u003cp>Brown’s post has been shared dozens of times and many supporters have included their own statements, pointing out Mitchell’s generosity and passion. Mitchell said he’s seen the support online and found it gratifying.\u003c/p>\n\u003cp>“I am humbled,” he told KQED, “that so many people care about me and my work. At this point in my life one of the main things that matters to me is learning.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n‘\u003cbr>\n\u003ci>\u003cstrong>Correction:\u003c/strong> A previous version of this story stated that the school would be cutting the Darius Milhaud Chair in Composition. The school plans to keep the position.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-john-vanderslices-picks-a-feast-of-music-festivals-and-an-ode-to-a-good-kid",
"title": "Cy and John Vanderslice's Picks: A Feast of Music Festivals and an Ode to a Good Kid",
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"content": "\u003cp>Yes, The Do List is changing. We’re welcoming guest hosts to join me in the studio each week, and we’re so happy to start this state of perpetual renewal with \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Vanderslice\u003c/a>, a singer-songwriter, record producer, and master of the analog reel-to-reel at Tiny Telephone Studios in San Francisco and Oakland. John also helps organize the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival\u003c/a>, and that’s part of our lineup on the show this week. And one more thing. The Do List needs your help. \u003cstrong>We want to know what you think about our experiments\u003c/strong>. Follow\u003ca href=\"https://docs.google.com/a/kqed.org/forms/d/e/1FAIpQLSdPzmeFGcnpnPkYw_dq-afHmiCyV6ESV0sXWCMTMfsa0KhDJw/viewform?c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\"> this link to a few short questions\u003c/a>. Please answer them by Monday, June 12. And thanks! Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fxICQySR1e0\u003c/p>\n\u003cp>\u003cstrong>June 9-10\u003c/strong>: \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica\u003c/a> is one of those little music festivals that get a lot of love because they’re \u003cem>not \u003c/em>the big gobstoppers like BottleRock or Outside Lands. Huichica still manages the warm, outdoor wine and food country vibe, because it’s hosted and sponsored by \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gundlach Bundschu Winery\u003c/a> in the town of Sonoma. The artists that caught our ear include Heron Oblivion, who make psychedelic rock withdreamy vocals from singer Meg Baird, Cass McCombs (John loves his latest album), and Robyn Hitchcock. (\u003ca href=\"http://www.sfgate.com/music/article/Robyn-Hitchcock-s-songs-pour-out-from-6143274.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s ode to San Francisco, \u003cem>Eye\u003c/em>\u003c/a> is another of John’s favorites.) And we both love Gospel Beach and Christopher Owens’ (Girls) new band Curls. Details for \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QWhJqvuB1ZA\u003c/p>\n\u003cp>\u003cstrong>June 22-24\u003c/strong>: \u003ca href=\"http://gadelmaleh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gad Elmaleh\u003c/a> is the Moroccan-born-French version of Jerry Seinfeld. He does observational comedy about everyday stuff, like dating and airline travel (and he was a guest on Seinfeld’s \u003cem>Comedians in Cars Getting Coffee)\u003c/em>, but his best jokes are about culture clashes. He’s a Sephardic Jew from an Arab country who speaks Hebrew, French, Arabic, and now Elmaleh’s trying to make it in the US even as he’s still mastering English. Details on Elmaleh’s show at the Improv in San Jose later this month are\u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/Gad+Elmaleh/7407085/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ujfG_ZYdOtM\u003c/p>\n\u003cp>\u003cstrong>June 10: \u003c/strong>\u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Switchboard Music Festiva\u003c/a>l is all about classical chamber music by living people. Which sounds so obvious, except new music gets such a raw deal from the big classical arts organizations, and way too many audience members. Don’t be scared. A lot of the music is just lovely (\u003ca href=\"http://www.splinterreeds.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Splinter Reeds\u003c/a>), and there’s an ambitious mini-opera by \u003ca href=\"http://www.dinamaccabee.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Dina Maccabee \u003c/a>and Jesse Olsen Bay based on Gertrude Stein’s children’s book \u003cem>Roses are Blue\u003c/em>. Veteran Bay Area new music crusaders The Kronos Quartet play the final hour of this marathon show (3-9 pm). As John notes, new music expands your brain. Details for the 10th annual Switchboard Music Festival at Z Space are \u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SiDBiIsFiqU\u003c/p>\n\u003cp>\u003cstrong>June 15- 17\u003c/strong>: Ojai in Berkeley is another annual festival of new music, an extension of the Ojai Music Festival in the idyllic little town of Ojai east of Santa Barbara. A new artistic director picks the music every year, with pianist and composer Vijay Iyer in charge for 2017. He’s programmed a new concerto he wrote for the talented violinist Jennifer Koh, a concert with Indian musicians, including tabla master Zakir Hussain, plus an opera by trombonist and composer George Lewis, who writes avant-garde scores (like Iyer) mixing jazz and classical. Details for these Cal Performances concerts at Zellerbach Hall and Zellerbach Playhouse are \u003ca href=\"http://secure.calperformances.org/single/eventlisting.aspx?k=142\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qu6k0Xh2VSU\u003c/p>\n\u003cp>\u003cstrong>June 9-11\u003c/strong>: John and I couldn’t resist adding these three concerts from the San Francisco Symphony, with \u003ca href=\"http://www.harrisonparrott.com/artist/profile/susanna-malkki\" target=\"_blank\" rel=\"noopener noreferrer\">Susanna Mälkki \u003c/a>guest conducting. She’s very sympatico with the musicians in Davies Hall, and I’m always wondering, who will someday replace the ageless Michael Tilson Thomas. Mälkki’s record here, especially tackling contemporary works, would seem to make her a great choice. She’s conducting Stravinsky’s Rite of Spring and Beethoven’s Piano Concerto #1 with the great Garrick Ohlson. Details for the concerts are\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar?gclid=CIiq2JbhrNQCFQ94fgodzdIMbg\" target=\"_blank\" rel=\"noopener noreferrer\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 15-July 9\u003c/strong>: Margo Hall is directing \u003cem>brownsville song (b-side for tray)\u003c/em>, a Bay Area premiere by Kimber Lee at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players \u003c/a>in Berkeley. It’s a show about a black high schooler who plays by all the rules, and still something awful happens to him and his family. I’m a big fan of Hall as both an actor and director. She’s so good at finding the humanity and individuality in the people she plays, and she’s terrific at helping her actors do the same in the shows she directs. Details for \u003cem>brownsville song \u003c/em>at Shotgun in Berkeley\u003ca href=\"https://shotgunplayers.org/Online/brownsville\" target=\"_blank\" rel=\"noopener noreferrer\"> are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1XpaGaCXn5w\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: The \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival \u003c/a>was John’s brainchild seven years ago. He lives nearby and saw how Potero del Sol Park was lovely and sunny, with birthday parties galore on weekends, but still underused. John invited the \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Bridged \u003c/a>to come on board to help produce this daylong fest, in which pop and rock mixed with Dvorak. The mission continues: feature the wonderfully eclectic sounds of Bay Area bands, plus a rich mix of food trucks. This year Melina Duterte, known as Jay Som, is one of the headliners, riding a wave of praise for her first full album (\u003cem>Everybody Works\u003c/em>). You can also hear the ingenious chamber jazz and Afro-pop of Bells Atlas, singer-songwriter Sean Hayes, indie rockers Never Young, rappers Duckwrth and R&B singer Rayana Jay from Richmond. John thinks Thee Oh Sees do one of the best live shows of any band, and will make a great closer. Details for Phono del Sol \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R6NiZitg9l8\u003c/p>\n\u003cp>A few extras this week: John recommends \u003ca href=\"http://bombadilmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bombadil\u003c/a>, an acoustic folk-pop band from Durham, NC, with a serious interest in Tolkien, and a fastidious approach to recording (no electric instruments ever). Details for their gig \u003cstrong>June 11\u003c/strong> at the Cafe du Nord \u003ca href=\"http://www.ticketfly.com/purchase/event/1469213?utm_medium=459899\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a> I squeezed in \u003ca href=\"http://lizzwright.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lizz Wright\u003c/a>, part of the lineup at the SFJAZZ Festival. Wright has the warmest, most sensuous voice, and is doing a tribute \u003cstrong>June 9 and 10\u003c/strong> to Ella Fitzgerald. \u003ca href=\"https://www.sfjazz.org/events/35sfjf/0610/lizz-wright\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13389701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13389701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg\" alt=\"KQED's Cy Musiker and Do List guest co-host John Vanderslice\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1920x1068.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1180x656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Do List guest co-host John Vanderslice \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Cy and cohost John Vanderslice talk about music fests and a Moroccan-French comedian making it in the US.",
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"title": "Cy and John Vanderslice's Picks: A Feast of Music Festivals and an Ode to a Good Kid | KQED",
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"headline": "Cy and John Vanderslice's Picks: A Feast of Music Festivals and an Ode to a Good Kid",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, The Do List is changing. We’re welcoming guest hosts to join me in the studio each week, and we’re so happy to start this state of perpetual renewal with \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Vanderslice\u003c/a>, a singer-songwriter, record producer, and master of the analog reel-to-reel at Tiny Telephone Studios in San Francisco and Oakland. John also helps organize the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival\u003c/a>, and that’s part of our lineup on the show this week. And one more thing. The Do List needs your help. \u003cstrong>We want to know what you think about our experiments\u003c/strong>. Follow\u003ca href=\"https://docs.google.com/a/kqed.org/forms/d/e/1FAIpQLSdPzmeFGcnpnPkYw_dq-afHmiCyV6ESV0sXWCMTMfsa0KhDJw/viewform?c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\"> this link to a few short questions\u003c/a>. Please answer them by Monday, June 12. And thanks! Now here’s the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fxICQySR1e0'\n title='//www.youtube.com/embed/fxICQySR1e0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 9-10\u003c/strong>: \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica\u003c/a> is one of those little music festivals that get a lot of love because they’re \u003cem>not \u003c/em>the big gobstoppers like BottleRock or Outside Lands. Huichica still manages the warm, outdoor wine and food country vibe, because it’s hosted and sponsored by \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gundlach Bundschu Winery\u003c/a> in the town of Sonoma. The artists that caught our ear include Heron Oblivion, who make psychedelic rock withdreamy vocals from singer Meg Baird, Cass McCombs (John loves his latest album), and Robyn Hitchcock. (\u003ca href=\"http://www.sfgate.com/music/article/Robyn-Hitchcock-s-songs-pour-out-from-6143274.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s ode to San Francisco, \u003cem>Eye\u003c/em>\u003c/a> is another of John’s favorites.) And we both love Gospel Beach and Christopher Owens’ (Girls) new band Curls. Details for \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QWhJqvuB1ZA'\n title='//www.youtube.com/embed/QWhJqvuB1ZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 22-24\u003c/strong>: \u003ca href=\"http://gadelmaleh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gad Elmaleh\u003c/a> is the Moroccan-born-French version of Jerry Seinfeld. He does observational comedy about everyday stuff, like dating and airline travel (and he was a guest on Seinfeld’s \u003cem>Comedians in Cars Getting Coffee)\u003c/em>, but his best jokes are about culture clashes. He’s a Sephardic Jew from an Arab country who speaks Hebrew, French, Arabic, and now Elmaleh’s trying to make it in the US even as he’s still mastering English. Details on Elmaleh’s show at the Improv in San Jose later this month are\u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/Gad+Elmaleh/7407085/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ujfG_ZYdOtM'\n title='//www.youtube.com/embed/ujfG_ZYdOtM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 10: \u003c/strong>\u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Switchboard Music Festiva\u003c/a>l is all about classical chamber music by living people. Which sounds so obvious, except new music gets such a raw deal from the big classical arts organizations, and way too many audience members. Don’t be scared. A lot of the music is just lovely (\u003ca href=\"http://www.splinterreeds.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Splinter Reeds\u003c/a>), and there’s an ambitious mini-opera by \u003ca href=\"http://www.dinamaccabee.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Dina Maccabee \u003c/a>and Jesse Olsen Bay based on Gertrude Stein’s children’s book \u003cem>Roses are Blue\u003c/em>. Veteran Bay Area new music crusaders The Kronos Quartet play the final hour of this marathon show (3-9 pm). As John notes, new music expands your brain. Details for the 10th annual Switchboard Music Festival at Z Space are \u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">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/SiDBiIsFiqU'\n title='//www.youtube.com/embed/SiDBiIsFiqU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 15- 17\u003c/strong>: Ojai in Berkeley is another annual festival of new music, an extension of the Ojai Music Festival in the idyllic little town of Ojai east of Santa Barbara. A new artistic director picks the music every year, with pianist and composer Vijay Iyer in charge for 2017. He’s programmed a new concerto he wrote for the talented violinist Jennifer Koh, a concert with Indian musicians, including tabla master Zakir Hussain, plus an opera by trombonist and composer George Lewis, who writes avant-garde scores (like Iyer) mixing jazz and classical. Details for these Cal Performances concerts at Zellerbach Hall and Zellerbach Playhouse are \u003ca href=\"http://secure.calperformances.org/single/eventlisting.aspx?k=142\" target=\"_blank\" rel=\"noopener noreferrer\">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/Qu6k0Xh2VSU'\n title='//www.youtube.com/embed/Qu6k0Xh2VSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 9-11\u003c/strong>: John and I couldn’t resist adding these three concerts from the San Francisco Symphony, with \u003ca href=\"http://www.harrisonparrott.com/artist/profile/susanna-malkki\" target=\"_blank\" rel=\"noopener noreferrer\">Susanna Mälkki \u003c/a>guest conducting. She’s very sympatico with the musicians in Davies Hall, and I’m always wondering, who will someday replace the ageless Michael Tilson Thomas. Mälkki’s record here, especially tackling contemporary works, would seem to make her a great choice. She’s conducting Stravinsky’s Rite of Spring and Beethoven’s Piano Concerto #1 with the great Garrick Ohlson. Details for the concerts are\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar?gclid=CIiq2JbhrNQCFQ94fgodzdIMbg\" target=\"_blank\" rel=\"noopener noreferrer\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 15-July 9\u003c/strong>: Margo Hall is directing \u003cem>brownsville song (b-side for tray)\u003c/em>, a Bay Area premiere by Kimber Lee at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players \u003c/a>in Berkeley. It’s a show about a black high schooler who plays by all the rules, and still something awful happens to him and his family. I’m a big fan of Hall as both an actor and director. She’s so good at finding the humanity and individuality in the people she plays, and she’s terrific at helping her actors do the same in the shows she directs. Details for \u003cem>brownsville song \u003c/em>at Shotgun in Berkeley\u003ca href=\"https://shotgunplayers.org/Online/brownsville\" target=\"_blank\" rel=\"noopener noreferrer\"> are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1XpaGaCXn5w'\n title='//www.youtube.com/embed/1XpaGaCXn5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 17\u003c/strong>: The \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival \u003c/a>was John’s brainchild seven years ago. He lives nearby and saw how Potero del Sol Park was lovely and sunny, with birthday parties galore on weekends, but still underused. John invited the \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Bridged \u003c/a>to come on board to help produce this daylong fest, in which pop and rock mixed with Dvorak. The mission continues: feature the wonderfully eclectic sounds of Bay Area bands, plus a rich mix of food trucks. This year Melina Duterte, known as Jay Som, is one of the headliners, riding a wave of praise for her first full album (\u003cem>Everybody Works\u003c/em>). You can also hear the ingenious chamber jazz and Afro-pop of Bells Atlas, singer-songwriter Sean Hayes, indie rockers Never Young, rappers Duckwrth and R&B singer Rayana Jay from Richmond. John thinks Thee Oh Sees do one of the best live shows of any band, and will make a great closer. Details for Phono del Sol \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R6NiZitg9l8'\n title='//www.youtube.com/embed/R6NiZitg9l8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few extras this week: John recommends \u003ca href=\"http://bombadilmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bombadil\u003c/a>, an acoustic folk-pop band from Durham, NC, with a serious interest in Tolkien, and a fastidious approach to recording (no electric instruments ever). Details for their gig \u003cstrong>June 11\u003c/strong> at the Cafe du Nord \u003ca href=\"http://www.ticketfly.com/purchase/event/1469213?utm_medium=459899\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a> I squeezed in \u003ca href=\"http://lizzwright.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lizz Wright\u003c/a>, part of the lineup at the SFJAZZ Festival. Wright has the warmest, most sensuous voice, and is doing a tribute \u003cstrong>June 9 and 10\u003c/strong> to Ella Fitzgerald. \u003ca href=\"https://www.sfjazz.org/events/35sfjf/0610/lizz-wright\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13389701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13389701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg\" alt=\"KQED's Cy Musiker and Do List guest co-host John Vanderslice\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1920x1068.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1180x656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Do List guest co-host John Vanderslice \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The woman who accuses Bill Cosby of drugging and violating her more than a decade ago stood by her story at his sex-crimes trial Wednesday, withstanding hours of often ponderous cross-examination that didn’t produce the stumbles the TV star might have hoped for.\u003c/p>\n\u003cp>Calm and composed, Andrea Constand brushed off suggestions she and Cosby had a romantic relationship before the 2004 encounter at his suburban Philadelphia home.\u003c/p>\n\u003cp>And she explained away the numerous phone calls she made to him afterward by saying she was merely returning Cosby’s messages about the women’s basketball squad at Temple University, where he was a powerful member of the board of trustees and she was director of team operations.\u003c/p>\n\u003cp>Constand, 44, left the witness stand after some seven hours of testimony over two days, during which she told the jury that the comedian gave her three blue 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>Constand’s mother followed her on the stand and bolstered her daughter’s account. Gianna Constand told the jury that she was distraught to learn what Cosby had done to her daughter.\u003cbr>\n“They were good friends. She viewed him like a father. He is 10 years older than even her own father,” the mother testified, breaking down on the stand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gianna Constand said she confronted Cosby by phone during a two-hour call in which she said he “surrendered” to her about the sexual encounter and told her he “was sick.”\u003c/p>\n\u003cp>After that conversation, she said, she bought a recording device in hopes that Cosby would again confess to harming her daughter. But she said he kept their next conversation short.\u003c/p>\n\u003cp>Prosecutors played a recording of the call, in which Cosby offered to pay for Constand’s education.\u003c/p>\n\u003cp>“She could go to school,” he said. “If she wanted to do that, then I would be willing to … pay for the schooling.”\u003c/p>\n\u003cp>Cosby is charged with aggravated indecent assault. The 79-year-old comedian once dubbed America’s Dad could get 10 years in prison if convicted.\u003c/p>\n\u003cp>Cosby’s lawyers have argued that the sexual encounter with Constand was consensual and have cited phone records showing she called the TV star 53 times afterward, including one call that lasted 20 minutes.\u003c/p>\n\u003cp>But Constand said she was returning calls Cosby made to her university-issued cellphone about the basketball team.\u003c/p>\n\u003cp>“She continued to do her job,” Constand’s lawyer, Dolores Troiani, said outside court. “This man was a trustee at Temple. Of course she was calling him back.”\u003c/p>\n\u003cp>Constand’s long-awaited showdown with Cosby’s lawyers became bogged down in a painstaking examination of her phone records and police statements, and the defense couldn’t budge her off her account of molestation and broken trust.\u003c/p>\n\u003cp>Constand was direct and polite under cross-examination, even when Agrusa’s questioning grew pointed and accusatory. Cosby kept still, looking down at the defense table through most of the morning.\u003c/p>\n\u003cp>During one exchange, Cosby lawyer Angela Agrusa suggested that Constand once enjoyed a romantic dinner at Cosby’s home before the alleged assault.\u003c/p>\n\u003cp>“You were sitting by the fire. The room was dark. There was a nice mood …,” Agrusa began, paraphrasing Constand’s 2005 statement to police.\u003c/p>\n\u003cp>“I don’t know what that means,” Constand said.\u003c/p>\n\u003cp>“The lights were dim and the fire was going,” the lawyer continued.\u003c/p>\n\u003cp>“I don’t really remember how dim the lights were, but I did have to eat my dinner,” Constand said.\u003c/p>\n\u003cp>Agrusa also questioned why Constand allowed herself to be alone with Cosby after the comedian had made advances on two occasions — touching her thigh one time, and trying to open her pants another time.\u003c/p>\n\u003cp>“So you knew — you were alone at his home — that Mr. Cosby was interested in you romantically?” Agrusa asked.\u003c/p>\n\u003cp>“No, ma’am, he never said a word to me,” Constand said. She testified she let Cosby know she wasn’t interested in his advances.\u003c/p>\n\u003cp>Constand said she was going to confront Cosby about the assault during an event he was hosting at his home for high school students. At the same time, Constand said, she was bringing Cosby a gift from a mutual acquaintance.\u003c/p>\n\u003cp>Agrusa seized on the seeming contradiction: “You were going to confront the man you say assaulted you and you’re bringing him bath salts?”\u003c/p>\n\u003cp>The defense lawyer sought to show that Constand changed her mind about the date of the alleged assault. But Constand perhaps blunted the attack by saying she got confused and initially thought the episode happened in March 2004.\u003c/p>\n\u003cp>“I was mistaken,” she said, unflustered.\u003c/p>\n\u003cp>Some 60 women have come forward to say Cosby sexually violated them, all but destroying his nice-guy image, but the statute of limitations for prosecution had run out in nearly every case. Constand’s case is the only one in which Cosby has been charged.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are sexual assault victims 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>The woman who accuses Bill Cosby of drugging and violating her more than a decade ago stood by her story at his sex-crimes trial Wednesday, withstanding hours of often ponderous cross-examination that didn’t produce the stumbles the TV star might have hoped for.\u003c/p>\n\u003cp>Calm and composed, Andrea Constand brushed off suggestions she and Cosby had a romantic relationship before the 2004 encounter at his suburban Philadelphia home.\u003c/p>\n\u003cp>And she explained away the numerous phone calls she made to him afterward by saying she was merely returning Cosby’s messages about the women’s basketball squad at Temple University, where he was a powerful member of the board of trustees and she was director of team operations.\u003c/p>\n\u003cp>Constand, 44, left the witness stand after some seven hours of testimony over two days, during which she told the jury that the comedian gave her three blue 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>Constand’s mother followed her on the stand and bolstered her daughter’s account. Gianna Constand told the jury that she was distraught to learn what Cosby had done to her daughter.\u003cbr>\n“They were good friends. She viewed him like a father. He is 10 years older than even her own father,” the mother testified, breaking down on the stand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gianna Constand said she confronted Cosby by phone during a two-hour call in which she said he “surrendered” to her about the sexual encounter and told her he “was sick.”\u003c/p>\n\u003cp>After that conversation, she said, she bought a recording device in hopes that Cosby would again confess to harming her daughter. But she said he kept their next conversation short.\u003c/p>\n\u003cp>Prosecutors played a recording of the call, in which Cosby offered to pay for Constand’s education.\u003c/p>\n\u003cp>“She could go to school,” he said. “If she wanted to do that, then I would be willing to … pay for the schooling.”\u003c/p>\n\u003cp>Cosby is charged with aggravated indecent assault. The 79-year-old comedian once dubbed America’s Dad could get 10 years in prison if convicted.\u003c/p>\n\u003cp>Cosby’s lawyers have argued that the sexual encounter with Constand was consensual and have cited phone records showing she called the TV star 53 times afterward, including one call that lasted 20 minutes.\u003c/p>\n\u003cp>But Constand said she was returning calls Cosby made to her university-issued cellphone about the basketball team.\u003c/p>\n\u003cp>“She continued to do her job,” Constand’s lawyer, Dolores Troiani, said outside court. “This man was a trustee at Temple. Of course she was calling him back.”\u003c/p>\n\u003cp>Constand’s long-awaited showdown with Cosby’s lawyers became bogged down in a painstaking examination of her phone records and police statements, and the defense couldn’t budge her off her account of molestation and broken trust.\u003c/p>\n\u003cp>Constand was direct and polite under cross-examination, even when Agrusa’s questioning grew pointed and accusatory. Cosby kept still, looking down at the defense table through most of the morning.\u003c/p>\n\u003cp>During one exchange, Cosby lawyer Angela Agrusa suggested that Constand once enjoyed a romantic dinner at Cosby’s home before the alleged assault.\u003c/p>\n\u003cp>“You were sitting by the fire. The room was dark. There was a nice mood …,” Agrusa began, paraphrasing Constand’s 2005 statement to police.\u003c/p>\n\u003cp>“I don’t know what that means,” Constand said.\u003c/p>\n\u003cp>“The lights were dim and the fire was going,” the lawyer continued.\u003c/p>\n\u003cp>“I don’t really remember how dim the lights were, but I did have to eat my dinner,” Constand said.\u003c/p>\n\u003cp>Agrusa also questioned why Constand allowed herself to be alone with Cosby after the comedian had made advances on two occasions — touching her thigh one time, and trying to open her pants another time.\u003c/p>\n\u003cp>“So you knew — you were alone at his home — that Mr. Cosby was interested in you romantically?” Agrusa asked.\u003c/p>\n\u003cp>“No, ma’am, he never said a word to me,” Constand said. She testified she let Cosby know she wasn’t interested in his advances.\u003c/p>\n\u003cp>Constand said she was going to confront Cosby about the assault during an event he was hosting at his home for high school students. At the same time, Constand said, she was bringing Cosby a gift from a mutual acquaintance.\u003c/p>\n\u003cp>Agrusa seized on the seeming contradiction: “You were going to confront the man you say assaulted you and you’re bringing him bath salts?”\u003c/p>\n\u003cp>The defense lawyer sought to show that Constand changed her mind about the date of the alleged assault. But Constand perhaps blunted the attack by saying she got confused and initially thought the episode happened in March 2004.\u003c/p>\n\u003cp>“I was mistaken,” she said, unflustered.\u003c/p>\n\u003cp>Some 60 women have come forward to say Cosby sexually violated them, all but destroying his nice-guy image, but the statute of limitations for prosecution had run out in nearly every case. Constand’s case is the only one in which Cosby has been charged.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically identify people who say they are sexual assault victims 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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"title": "Bill Cosby's Accuser Takes the Stand in Sexual Assault Trial",
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"content": "\u003cp>Andrea Constand has said Bill Cosby drugged and assaulted her in 2004 while she was working for Temple University’s women’s basketball team. On Tuesday, in a Pennsylvania courtroom, she told her story publicly for the first time.\u003c/p>\n\u003cp>“In my head, I was trying to get my hands to move or my legs to move, but I was frozen,” Constand said, \u003ca href=\"https://apnews.com/5b019ff898da48d2a2bbbc2f1afeb321\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “I wasn’t able to fight in any way. … I wanted it to stop.”\u003c/p>\n\u003cp>Cosby, the 79-year-old comedian, is charged with sexually assaulting Constand in his home outside Philadelphia. According to the wire service, Constand was “calm and collected” while she testified and looked at the jury as she described the assault:\u003c/p>\n\u003cblockquote>\n\u003cp>“She said Cosby gave her pills he claimed were a natural remedy to ease her stress about a looming career change. ‘They’re your friends. They’ll take the edge off,’ she quoted him as saying.\u003c/p>\n\u003cp>“She told the jury she started feeling woozy after about 20 minutes, with blurred vision, slurred words and legs that felt like rubber. Cosby then [assaulted her], she said.\u003c/p>\n\u003cp>“She said she was unable to push him away or tell him to stop.\u003c/p>\n\u003cp>“Afterward, Constand said, ‘I felt really humiliated and I felt really confused.’\u003c/p>\n\u003cp>“Cosby, sitting across the room at the defense table, leaned in to listen, whispered to his lawyer and, at times, shook his head.”\u003c/p>\n\u003c/blockquote>\n\u003cp>According to WHYY reporter Laura Benshoff, \u003ca href=\"http://www.npr.org/2017/06/06/531794410/andrea-constand-testifies-in-bill-cosby-sexual-assault-trial\" target=\"_blank\" rel=\"noopener\">who spoke with\u003c/a> NPR’s \u003cem>All Things Considered\u003c/em>, Constand described meeting Cosby at a Temple basketball game, where he inquired about some facilities in the women’s locker room. Cosby became a mentor to Constand, and he would sometimes invite her to dinner at his house either alone or with others.\u003c/p>\n\u003cp>Benshoff says Constand testified that on a previous occasion, Cosby tried to unzip her pants, but she rejected the advance and said, “I’m not here for that. I don’t want that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The defense has highlighted phone records showing that Constand called Cosby 53 times after she says he assaulted her, the AP reports. Constand said the calls mostly concerned the women’s basketball team.\u003c/p>\n\u003cp>“It had more to do with business than it did with me personally,” she said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/05/22/529467030/jury-selection-to-begin-in-bill-cosbys-criminal-trial\" target=\"_blank\" rel=\"noopener\">More than 50 women\u003c/a> have said Cosby assaulted them, but the statute of limitations has run out in nearly all cases. Only in Constand’s case has Cosby been charged.\u003c/p>\n\u003cp>Cosby \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-bill-cosby-1494946826-htmlstory.html\" target=\"_blank\" rel=\"noopener\">said in a recent interview\u003c/a> that he won’t testify.\u003c/p>\n\u003cp>The mostly white jury is composed of seven men and five women, \u003ca href=\"http://www.npr.org/2017/06/05/531629239/bill-cosbys-sexual-assault-trial-begins-in-suburban-philadelphia-courtroom\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> WHYY’s Bobby Allyn. On Monday, the first day of the trial, prosecutor Kristen Feden asked jurors not to let memories of Cosby as a TV actor and comedian cloud their judgment of what happened to Constand 13 years ago.\u003c/p>\n\u003cp>The defense attorney, on the other hand, asked jurors to “be the juror you would be if this was your own grandfather,” Allyn reports, and pointed to apparent inconsistencies in Constand’s statements to suggest that she couldn’t be trusted.\u003c/p>\n\u003cp>In Monday’s testimony, a woman identified as “Victim No. 6” described being drugged and sexually molested by Cosby. Allyn reports that the woman was subjected to a tough cross-examination by Cosby’s attorney, who attempted to show that her memory was incorrect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The judge in the case has \u003ca href=\"http://www.npr.org/2017/06/04/531444438/no-cameras-no-phones-you-cant-watch-bill-cosbys-high-profile-trial\">forbidden cameras in the courtroom\u003c/a>, and reporters must turn off their phones throughout the proceedings. \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=Bill+Cosby%27s+Accuser+Takes+The+Stand+In+Sexual+Assault+Trial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrea Constand has said Bill Cosby drugged and assaulted her in 2004 while she was working for Temple University’s women’s basketball team. On Tuesday, in a Pennsylvania courtroom, she told her story publicly for the first time.\u003c/p>\n\u003cp>“In my head, I was trying to get my hands to move or my legs to move, but I was frozen,” Constand said, \u003ca href=\"https://apnews.com/5b019ff898da48d2a2bbbc2f1afeb321\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “I wasn’t able to fight in any way. … I wanted it to stop.”\u003c/p>\n\u003cp>Cosby, the 79-year-old comedian, is charged with sexually assaulting Constand in his home outside Philadelphia. According to the wire service, Constand was “calm and collected” while she testified and looked at the jury as she described the assault:\u003c/p>\n\u003cblockquote>\n\u003cp>“She said Cosby gave her pills he claimed were a natural remedy to ease her stress about a looming career change. ‘They’re your friends. They’ll take the edge off,’ she quoted him as saying.\u003c/p>\n\u003cp>“She told the jury she started feeling woozy after about 20 minutes, with blurred vision, slurred words and legs that felt like rubber. Cosby then [assaulted her], she said.\u003c/p>\n\u003cp>“She said she was unable to push him away or tell him to stop.\u003c/p>\n\u003cp>“Afterward, Constand said, ‘I felt really humiliated and I felt really confused.’\u003c/p>\n\u003cp>“Cosby, sitting across the room at the defense table, leaned in to listen, whispered to his lawyer and, at times, shook his head.”\u003c/p>\n\u003c/blockquote>\n\u003cp>According to WHYY reporter Laura Benshoff, \u003ca href=\"http://www.npr.org/2017/06/06/531794410/andrea-constand-testifies-in-bill-cosby-sexual-assault-trial\" target=\"_blank\" rel=\"noopener\">who spoke with\u003c/a> NPR’s \u003cem>All Things Considered\u003c/em>, Constand described meeting Cosby at a Temple basketball game, where he inquired about some facilities in the women’s locker room. Cosby became a mentor to Constand, and he would sometimes invite her to dinner at his house either alone or with others.\u003c/p>\n\u003cp>Benshoff says Constand testified that on a previous occasion, Cosby tried to unzip her pants, but she rejected the advance and said, “I’m not here for that. I don’t want that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The defense has highlighted phone records showing that Constand called Cosby 53 times after she says he assaulted her, the AP reports. Constand said the calls mostly concerned the women’s basketball team.\u003c/p>\n\u003cp>“It had more to do with business than it did with me personally,” she said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/05/22/529467030/jury-selection-to-begin-in-bill-cosbys-criminal-trial\" target=\"_blank\" rel=\"noopener\">More than 50 women\u003c/a> have said Cosby assaulted them, but the statute of limitations has run out in nearly all cases. Only in Constand’s case has Cosby been charged.\u003c/p>\n\u003cp>Cosby \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-bill-cosby-1494946826-htmlstory.html\" target=\"_blank\" rel=\"noopener\">said in a recent interview\u003c/a> that he won’t testify.\u003c/p>\n\u003cp>The mostly white jury is composed of seven men and five women, \u003ca href=\"http://www.npr.org/2017/06/05/531629239/bill-cosbys-sexual-assault-trial-begins-in-suburban-philadelphia-courtroom\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> WHYY’s Bobby Allyn. On Monday, the first day of the trial, prosecutor Kristen Feden asked jurors not to let memories of Cosby as a TV actor and comedian cloud their judgment of what happened to Constand 13 years ago.\u003c/p>\n\u003cp>The defense attorney, on the other hand, asked jurors to “be the juror you would be if this was your own grandfather,” Allyn reports, and pointed to apparent inconsistencies in Constand’s statements to suggest that she couldn’t be trusted.\u003c/p>\n\u003cp>In Monday’s testimony, a woman identified as “Victim No. 6” described being drugged and sexually molested by Cosby. Allyn reports that the woman was subjected to a tough cross-examination by Cosby’s attorney, who attempted to show that her memory was incorrect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The judge in the case has \u003ca href=\"http://www.npr.org/2017/06/04/531444438/no-cameras-no-phones-you-cant-watch-bill-cosbys-high-profile-trial\">forbidden cameras in the courtroom\u003c/a>, and reporters must turn off their phones throughout the proceedings. \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=Bill+Cosby%27s+Accuser+Takes+The+Stand+In+Sexual+Assault+Trial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "William Krisel, who Helped Define California Modernism, Dies at 92",
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"content": "\u003cp>William Krisel, a pioneering architect who brought his vision of modernism to Southern California tract housing, died Monday at age 92.\u003c/p>\n\u003cp>Tract housing often implies cookie-cutter. But in Palm Springs, Krisel varied homes’ rooflines, paint schemes, and setbacks from the street so no two tract homes next to each other looked the same — despite all having one basic floorplan. He also popularized \u003ca href=\"https://www.curbed.com/2014/12/22/10009194/le-corbusiers-forgotten-invention-socals-iconic-butterfly-roof\" target=\"_blank\" rel=\"noopener\">the “butterfly” roof\u003c/a>.\u003c/p>\n\u003cp>His homes featured open floorplans and clerestory windows to bring in even more light.\u003c/p>\n\u003cp>https://www.instagram.com/p/BU-J2XOhc0W/\u003c/p>\n\u003cp>“First of all, it makes you aware that it’s a beautiful day or a dark day — you’re aware of the weather because the outdoors comes in,” Krisel told NPR last year. “Secondly, the space that you’re in is not held in by four walls, that your space goes as far as your eye can see.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Krisel grew up in a big house with staff of servants in Shanghai, where his father was the sole film distributor to Asia for all of the big Hollywood studios. At 11, he drew a sketch of a proposed family home in Southern California; his father sent the drawings to the architect.\u003c/p>\n\u003cp>The architect told Krisel’s father that the boy had talent and ought to become an architect — and that’s just what he did after leaving the Army. He served during World War II and said he often chatted with his fellow soldiers about what they would do after the war.\u003c/p>\n\u003cfigure id=\"attachment_13382460\" 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/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-1020x765.jpg\" alt=\"A mid-century modern home designed by William Krisel in the Twin Palms neighborhood of Palm Springs, Calif.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13382460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mid-century modern home designed by William Krisel in the Twin Palms neighborhood of Palm Springs, Calif. \u003ccite>(Darren Bradley/Courtesy of Darren Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody had an idea of what kind of a home they wanted and what not, and so I listened to all this and made up my mind that I was going to try and be a specialist in housing,” he said.\u003c/p>\n\u003cp>He’s best known for the 1,200 middle-class homes in California that he designed from 1957 to 1963, when he worked with the builder-developers George and Robert Alexander, \u003ca href=\"http://www.latimes.com/home/la-hm-william-krisel-palm-springs-20160206-story.html\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> the \u003cem>Los Angeles Times\u003c/em>. The partnership revealed Krisel to be a pragmatic architect, attracting buyers with appealing architecture at a price that made the developers happy.\u003c/p>\n\u003cp>The Alexanders’ “main interest was to make money,” he said, according to the \u003cem>Times\u003c/em>, “and my interest was to do good design. In order for them to do my work, I had to come up with a design that was less expensive than the dingbats they were building.”\u003c/p>\n\u003cfigure id=\"attachment_13382461\" 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/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-800x600.jpg\" alt=\"A Krisel home in the University City neighborhood of San Diego.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13382461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Krisel home in the University City neighborhood of San Diego. \u003ccite>(Darren Bradley/Courtesy of Darren Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Krisel told NPR that in the late 1950s, buyers could purchase one of his small homes on “a 100 x 100 lot, all fenced in, landscaped, modern design, air condition, swimming pool — all for $29,900.”\u003c/p>\n\u003cp>The \u003cem>Times \u003c/em>notes that Krisel also was a talented artist, whose three-dimensional drawings also sold buyers on the appeal of a home in Palm Springs or elsewhere. Krisel himself wasn’t sold on the desert life, though: “I wouldn’t like to live there,” he said, “but I like it as a locale for my architecture.”\u003c/p>\n\u003cp>Krisel later designed residential buildings like high-rise apartments and condos, as well as commercial projects such as offices, shopping centers and hotels, according to the Getty Research Institute, which \u003ca href=\"http://blogs.getty.edu/iris/treasures-from-the-vault-william-krisel-southern-californias-architect/\" target=\"_blank\" rel=\"noopener\">houses Krisel’s archive\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13382462\" 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/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-800x643.jpg\" alt=\"While best known for his residential architecture, Krisel also worked on commercial projects. He designed this Los Angeles building, home to Coffee Dan's Coffee Shop, shown in 1958.\" width=\"800\" height=\"643\" class=\"size-medium wp-image-13382462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-520x418.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad.jpg 956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">While best known for his residential architecture, Krisel also worked on commercial projects. He designed this Los Angeles building, home to Coffee Dan’s Coffee Shop, shown in 1958. \u003ccite>(Julius Shulman photography archive. The Getty Research Institute, 2004.R.10)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publication of a book about his work spurred a fresh wave of interest in Krisel homes \u003ca href=\"http://www.npr.org/2016/02/21/467352937/meet-the-architect-who-helped-bring-modernism-to-the-masses\" target=\"_blank\" rel=\"noopener\">last year\u003c/a>; Palm Springs \u003ca href=\"http://www.desertsun.com/story/life/entertainment/events/modernism/2016/02/10/william-krisel-get-street-during-modernism-week/80206196/\" target=\"_blank\" rel=\"noopener\">renamed a street\u003c/a> after the architect in February 2016.\u003c/p>\n\u003cp>More than 40,000 homes are thought to have been built from his designs, according to the Getty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve had a very happy and successful career,” he told NPR. “And I’ve achieved what I set out to do: create housing for the masses that they could afford and that would change their way of living and make life more enjoyable.” \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=William+Krisel%2C+Architect+Who+Helped+Define+California+Modernism%2C+Dies+At+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>William Krisel, a pioneering architect who brought his vision of modernism to Southern California tract housing, died Monday at age 92.\u003c/p>\n\u003cp>Tract housing often implies cookie-cutter. But in Palm Springs, Krisel varied homes’ rooflines, paint schemes, and setbacks from the street so no two tract homes next to each other looked the same — despite all having one basic floorplan. He also popularized \u003ca href=\"https://www.curbed.com/2014/12/22/10009194/le-corbusiers-forgotten-invention-socals-iconic-butterfly-roof\" target=\"_blank\" rel=\"noopener\">the “butterfly” roof\u003c/a>.\u003c/p>\n\u003cp>His homes featured open floorplans and clerestory windows to bring in even more light.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Krisel grew up in a big house with staff of servants in Shanghai, where his father was the sole film distributor to Asia for all of the big Hollywood studios. At 11, he drew a sketch of a proposed family home in Southern California; his father sent the drawings to the architect.\u003c/p>\n\u003cp>The architect told Krisel’s father that the boy had talent and ought to become an architect — and that’s just what he did after leaving the Army. He served during World War II and said he often chatted with his fellow soldiers about what they would do after the war.\u003c/p>\n\u003cfigure id=\"attachment_13382460\" 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/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-1020x765.jpg\" alt=\"A mid-century modern home designed by William Krisel in the Twin Palms neighborhood of Palm Springs, Calif.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13382460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_twinpalms_40-edit-128b3d052cc5b76fc4f22b21c3271f9b0959da82.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mid-century modern home designed by William Krisel in the Twin Palms neighborhood of Palm Springs, Calif. \u003ccite>(Darren Bradley/Courtesy of Darren Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody had an idea of what kind of a home they wanted and what not, and so I listened to all this and made up my mind that I was going to try and be a specialist in housing,” he said.\u003c/p>\n\u003cp>He’s best known for the 1,200 middle-class homes in California that he designed from 1957 to 1963, when he worked with the builder-developers George and Robert Alexander, \u003ca href=\"http://www.latimes.com/home/la-hm-william-krisel-palm-springs-20160206-story.html\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> the \u003cem>Los Angeles Times\u003c/em>. The partnership revealed Krisel to be a pragmatic architect, attracting buyers with appealing architecture at a price that made the developers happy.\u003c/p>\n\u003cp>The Alexanders’ “main interest was to make money,” he said, according to the \u003cem>Times\u003c/em>, “and my interest was to do good design. In order for them to do my work, I had to come up with a design that was less expensive than the dingbats they were building.”\u003c/p>\n\u003cfigure id=\"attachment_13382461\" 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/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-800x600.jpg\" alt=\"A Krisel home in the University City neighborhood of San Diego.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13382461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bradley_krisel_university-city_2-edit-b7e7be93ddfc5a01cef76252602d309c3a772500-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Krisel home in the University City neighborhood of San Diego. \u003ccite>(Darren Bradley/Courtesy of Darren Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Krisel told NPR that in the late 1950s, buyers could purchase one of his small homes on “a 100 x 100 lot, all fenced in, landscaped, modern design, air condition, swimming pool — all for $29,900.”\u003c/p>\n\u003cp>The \u003cem>Times \u003c/em>notes that Krisel also was a talented artist, whose three-dimensional drawings also sold buyers on the appeal of a home in Palm Springs or elsewhere. Krisel himself wasn’t sold on the desert life, though: “I wouldn’t like to live there,” he said, “but I like it as a locale for my architecture.”\u003c/p>\n\u003cp>Krisel later designed residential buildings like high-rise apartments and condos, as well as commercial projects such as offices, shopping centers and hotels, according to the Getty Research Institute, which \u003ca href=\"http://blogs.getty.edu/iris/treasures-from-the-vault-william-krisel-southern-californias-architect/\" target=\"_blank\" rel=\"noopener\">houses Krisel’s archive\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13382462\" 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/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-800x643.jpg\" alt=\"While best known for his residential architecture, Krisel also worked on commercial projects. He designed this Los Angeles building, home to Coffee Dan's Coffee Shop, shown in 1958.\" width=\"800\" height=\"643\" class=\"size-medium wp-image-13382462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad-520x418.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/coffeedans_custom-28effefef3eca527dcb189a9b406551c33528dad.jpg 956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">While best known for his residential architecture, Krisel also worked on commercial projects. He designed this Los Angeles building, home to Coffee Dan’s Coffee Shop, shown in 1958. \u003ccite>(Julius Shulman photography archive. The Getty Research Institute, 2004.R.10)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publication of a book about his work spurred a fresh wave of interest in Krisel homes \u003ca href=\"http://www.npr.org/2016/02/21/467352937/meet-the-architect-who-helped-bring-modernism-to-the-masses\" target=\"_blank\" rel=\"noopener\">last year\u003c/a>; Palm Springs \u003ca href=\"http://www.desertsun.com/story/life/entertainment/events/modernism/2016/02/10/william-krisel-get-street-during-modernism-week/80206196/\" target=\"_blank\" rel=\"noopener\">renamed a street\u003c/a> after the architect in February 2016.\u003c/p>\n\u003cp>More than 40,000 homes are thought to have been built from his designs, according to the Getty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve had a very happy and successful career,” he told NPR. “And I’ve achieved what I set out to do: create housing for the masses that they could afford and that would change their way of living and make life more enjoyable.” \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=William+Krisel%2C+Architect+Who+Helped+Define+California+Modernism%2C+Dies+At+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Horrific Ghost Ship Fire Tests Oakland Firefighters' Culture of Not Seeking Help",
"title": "Horrific Ghost Ship Fire Tests Oakland Firefighters' Culture of Not Seeking Help",
"headTitle": "KQED Future of You | KQED Science",
"content": "\u003cp>The day was dawning clear and sunny as Dan Robertson picked his way through the remnants of the inferno. The veteran firefighter was with a few of the other guys, making a final sweep to check that all the flames were out, when morbid curiosity got the better of them. He was cold and wet from water and sweat, and his knees told him it was time to go home. But he wondered, what does a warehouse look like, all burnt up from the inside out?\u003c/p>\n\u003cp>They walked over charcoal debris; some stuff they could recognize, like rugs and alarm clocks. Other stuff had melted into dark indecipherable shapes. The winter air smelled like that moment when you pour water on a big log-filled campfire, but with scents of burning plastic and chemicals mixed in.\u003c/p>\n\u003cp>What Robertson noticed most were the pianos. There were singed pianos everywhere, at least four or five in the front, near the doorway. He remembered being inside six hours earlier, at the height of the blaze, a piano blocking his path as he tried to carry a hose through the crackling flames.\u003c/p>\n\u003cp>[contextly_sidebar id=\"FWeW0K2AmQ9JTRMadzqx4CF7Jv6E82U1\"]By the time they had finished exploring the Ghost Ship warehouse that morning of Dec. 3, 2016, nine people had been confirmed dead; 27 more victims would be found by the end of that week in the building, which had been converted into an artists collective.\u003c/p>\n\u003cp>It wasn’t until Robertson was back at the firehouse, showering and changing into fresh clothes, that his experiences that night finally caught up to him. He drove his Toyota Tundra home and found his wife, Cheri, awake. She had just heard about the fire, and asked whether he was OK. He tried to speak, but nothing came out. He just started sobbing.\u003c/p>\n\u003caside class=\"pullquote alignright\">Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago.\u003c/aside>\n\u003cp>Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago. But few have sought mental health treatment, because of stigma within the department, combined with a limit on free counseling sessions provided by the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now the Ghost Ship fire has become a catalyst for change in the Oakland Fire Department, where Robertson, a 54-year-old lieutenant and the president of the Oakland firefighters union, and other firefighters are pushing to create a peer counseling program. Firefighters in general are at high risk of developing post-traumatic stress disorder, which can lead to anxiety, substance abuse and even suicide, and that has spurred firefighters in numerous cities to demand that their mental health be treated as urgently as any other injury sustained on the job.\u003c/p>\n\u003cp>Oakland fire officials insist that existing mental health services are sufficient but underused. Deputy Chief Mark Hoffmann pointed to the city’s “incredibly robust workers comp system,” and noted that firefighters who were at the Ghost Ship fire have been offered extra employee assistance program sessions, though few have claimed them.\u003c/p>\n\u003cp>Robertson disagrees. The fact that few firefighters use the current services, he said, is proof that they aren’t working. “Is it underutilized because it’s not needed, or is it underutilized because people have no faith in it?” Robertson asked.\u003c/p>\n\u003cfigure id=\"attachment_403984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-403984\" src=\"https://ww2.kqed.org/futureofyou/wp-content/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Firefighters clear debris from the entrance to the Ghost Ship warehouse in Oakland, where a fire killed 36 people on Dec. 2, 2016. \u003ccite>((Elijah Nouvelage/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘That Was Going to Sit With Me’\u003c/strong>\u003c/p>\n\u003cp>After the fire came the search for bodies. Eight men and women who participated in the recovery efforts said it was the most difficult aspect of the whole week. One fire captain, who has been with the department for more than 20 years, said thinking about it still makes him feel like he is teetering on the edge of a breakdown. He could see 10 bodies in the ash and rubble when he arrived, and he knew from the way the building collapsed that there would be more.\u003c/p>\n\u003cp>The victims died of smoke inhalation, not fire, so all their features were recognizable. The firefighters could see every detail: The cellphones in their pockets flooded with missed calls. Their tattoos. Their eyelashes. “There was no question,” said another firefighter, “that was going to sit with me for a while.”\u003c/p>\n\u003cp>All of them spoke about that day on condition of anonymity because they weren’t authorized to speak to the news media.\u003c/p>\n\u003cp>The firefighters were quick to emphasize that the Ghost Ship fire was just one in a long series of traumatic events over the course of their careers. In a big city like Oakland, they respond to everything from stubbed toes to heart attacks, from shootings to wildfires to structure fires. When asked to think back on a call that stuck with them, all the firefighters were able to conjure up several memories in perfect detail.\u003c/p>\n\u003cp>There was the firefighter-paramedic who still remembers the faces of two teenage girls shot in the head execution-style on a street. Another firefighter, in the department for less than five years, described a day when they drove an alcoholic to the hospital to get detoxed; as the man left the hospital that evening to go home, he was shot in a botched robbery, and the same team was called back to the scene to pronounce him dead.\u003c/p>\n\u003cp>Firefighters have a metaphor for their emotional baggage: the backpack. After every traumatic event, more junk is thrown into their symbolic backpacks for them to carry around each day. Eventually it will get too heavy; it will drag them down. “My backpack’s full,” said a firefighter still in his 18-month probation period. “It’s super full.”\u003c/p>\n\u003cp>PTSD and other post-trauma mental health issues can be tricky to identify in first responders, said psychologist Mark Kemena, a lead clinician for the West Coast Post-trauma Retreat, because it often builds up over time. It is like having a car alarm that is triggered when even the slightest wind passes by, said Michael Palmertree, a psychologist who has worked extensively with the Oakland Police Department.\u003c/p>\n\u003cp>There have been many studies about rates of PTSD in veterans and police, but reliable statistics for mental trauma in firefighters are hard to find. Suzy Gulliver, director of the Warriors Research Institute, is one of the few clinicians who has done studies on firefighter mental health. Over the course of a lifetime, she said, 20 to 22 percent of firefighters in the United States will experience PTSD — the same rate as returning combat veterans.\u003c/p>\n\u003cp>The consequences can be tragic. According to estimates from the National Fallen Firefighters Foundation, firefighters are three times more likely to die of suicide than in the line of duty. And many PTSD sufferers self-medicate with drugs or alcohol. Robertson said excessive drinking and substance use, including marijuana, have always been common in the fire department, particularly in young members. He himself had to go to drug rehab early in his career.\u003c/p>\n\u003caside class=\"pullquote alignright\">'When you do this for a little while, you’re scarred mentally for sure'\u003ccite>Chris Foley, Veteran fire captain\u003c/cite>\u003c/aside>\n\u003cp>“When you do this for a little while,” said Chris Foley, a veteran fire captain helping Robertson start the peer counseling program, “you’re scarred mentally for sure.”\u003c/p>\n\u003cp>\u003cstrong>Firefighters Wary of \u003c/strong>\u003cstrong>Treatment\u003c/strong>\u003c/p>\n\u003cp>Firefighters like to say that the fire service is 150 years of tradition, unimpeded by progress. When Robertson was a new recruit in the early 1990s, mental health wasn’t talked about in the firehouse. Back then, veterans from World War II, Korea, and Vietnam were on the crew, men who had already experienced their fair share of trauma.\u003c/p>\n\u003cp>“You can’t handle it?” Robertson recalled them saying if they saw a new crew member getting emotional after a run. “Then you need to go somewhere else.”\u003c/p>\n\u003cp>The culture has started changing, Robertson said, but many firefighters still won’t admit that a call affected them, fearing it would be seen as weakness and make their coworkers trust them a little less. In a recent survey conducted by the NBC Bay Area investigative news team, almost 50 percent of the 700 firefighters that responded said that concerns about colleagues not trusting their judgment contributed to the stigma of seeking mental health treatment.\u003c/p>\n\u003cp>Only one of the eight firefighters STAT interviewed who were at the scene that night has sought regular mental health treatment. For the few who do try to seek help, options are limited and, they say, often confusing.\u003c/p>\n\u003cp>Firefighters in Oakland are offered the same counseling program that every Oakland city employee gets: three free therapy sessions every six months through their employee assistance program (EAP). Tom Farris, president of Claremont EAP, which runs the city’s program, said it is designed to be a bridge to longer-term care, though firefighters have to pay for additional sessions through insurance copayments or out of pocket.\u003c/p>\n\u003cp>Complex mental health problems like PTSD are “absolutely not” resolved within three sessions, said Farris, who is a licensed psychologist. But “that’s not really what EAPs are scoped out to handle,” he said. Farris noted that in many cities, first responders are offered six to 10 EAP sessions, not three. More benefits for public safety employees “is a good idea,” he said.\u003c/p>\n\u003cp>Another resource in the fire department is a Critical Incident Stress Management team that is dispatched to fire stations after big events such as the Ghost Ship fire. The team members can vary from priests to other firefighters to experienced psychologists to brand-new therapists trying to boost their resume, and firefighters are required to sit together and debrief the incident.\u003c/p>\n\u003cp>Reactions to CISM are mixed. While psychologists say it can be very helpful, some firefighters say the team members often can’t relate to their experiences. Robertson said many of the CISM therapists wouldn’t be able to hold their own in a burning building. “Why the hell would I open up to you?” he said.\u003c/p>\n\u003cp>Hoffmann, the deputy chief who has been in the fire department 37 years, acknowledged that CISM has been “poorly applied at times” and said team members hadn’t received training “in about two years,” but he believes that it is an effective behavioral health tool.\u003c/p>\n\u003cp>Unsatisfied with the current treatment options, Robertson, along with Foley, has made it his mission in his last two years before retirement to launch a peer counseling program. They want to follow in the steps of other departments, including Phoenix and New York City, that have been using this model for years. Several other Bay Area cities have these programs, including neighboring Berkeley.\u003c/p>\n\u003cp>The International Association of Fire Fighters (IAFF) started offering peer counseling training courses last year and so far has offered 24 courses across North America. Elaine Viccora, a behavioral specialist at IAFF, said it plans to offer three to four trainings each month.\u003c/p>\n\u003cp>Robertson hopes to model the Oakland peer counseling program after the one in Phoenix. Brian French, a Phoenix firefighter, helped develop it in 2010 after four members of the department committed suicide within seven months.\u003c/p>\n\u003cp>Their model, French said, is “listen, refer, support.” Peer counselors are trained to reach out to individual station members after a critical incident and encourage them to get professional counseling if they think it is needed. French also oversees the day-to-day operations of a website called Firestrong, an online portal where fire departments around the country can list area-specific mental health resources for their members.\u003c/p>\n\u003cp>Robertson faces two main barriers as he tries to get the peer-counseling program off the ground: persuading the firefighters to admit when they need help, and convincing Hoffmann and other city administrators to pay for it.\u003c/p>\n\u003cp>It costs more than $250 for one firefighter to be trained as a peer counselor through the IAFF program, and membership to the Firestrong website is an additional $1,500 per year. So far, the union has paid for the training, and Robertson plans to push for city money in union negotiations this August.\u003c/p>\n\u003cp>But Hoffmann said he is worried that the peer counseling program won’t be inclusive and that the people chosen as counselors could just be winners of a popularity contest within the union. “The way they’re describing doing their program,” Hoffman said, “I can’t spend city money on that.”\u003c/p>\n\u003cp>\u003cstrong>‘Just Doing Our Job’\u003c/strong>\u003c/p>\n\u003cp>In early April, Robertson attended an IAFF conference in Phoenix and was surprised to receive a plaque commending the Oakland firefighters on their actions the night of the Ghost Ship fire. The honor made him distinctly uncomfortable. It was weird, he said, to get a plaque “for us just doing our job.” Especially, he added, on a night when 36 people lost their lives.\u003c/p>\n\u003cp>Robertson frowns at any mention of leaving a legacy in the department. That’s not why he’s creating the peer counseling program, he said, though it’s hard for him to come up with the words to describe why firefighter PTSD is such an important issue for him personally.\u003c/p>\n\u003cp>“It’s probably because I’m all fucked up myself by it,” he said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was \u003ca href=\"https://www.statnews.com/2017/06/02/ghost-ship-firefighters/\" target=\"_blank\" rel=\"noopener noreferrer\">originally published by STAT\u003c/a>, an online publication of Boston Globe Media that covers health, medicine, and scientific discovery.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The day was dawning clear and sunny as Dan Robertson picked his way through the remnants of the inferno. The veteran firefighter was with a few of the other guys, making a final sweep to check that all the flames were out, when morbid curiosity got the better of them. He was cold and wet from water and sweat, and his knees told him it was time to go home. But he wondered, what does a warehouse look like, all burnt up from the inside out?\u003c/p>\n\u003cp>They walked over charcoal debris; some stuff they could recognize, like rugs and alarm clocks. Other stuff had melted into dark indecipherable shapes. The winter air smelled like that moment when you pour water on a big log-filled campfire, but with scents of burning plastic and chemicals mixed in.\u003c/p>\n\u003cp>What Robertson noticed most were the pianos. There were singed pianos everywhere, at least four or five in the front, near the doorway. He remembered being inside six hours earlier, at the height of the blaze, a piano blocking his path as he tried to carry a hose through the crackling flames.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>By the time they had finished exploring the Ghost Ship warehouse that morning of Dec. 3, 2016, nine people had been confirmed dead; 27 more victims would be found by the end of that week in the building, which had been converted into an artists collective.\u003c/p>\n\u003cp>It wasn’t until Robertson was back at the firehouse, showering and changing into fresh clothes, that his experiences that night finally caught up to him. He drove his Toyota Tundra home and found his wife, Cheri, awake. She had just heard about the fire, and asked whether he was OK. He tried to speak, but nothing came out. He just started sobbing.\u003c/p>\n\u003caside class=\"pullquote alignright\">Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago.\u003c/aside>\n\u003cp>Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago. But few have sought mental health treatment, because of stigma within the department, combined with a limit on free counseling sessions provided by the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now the Ghost Ship fire has become a catalyst for change in the Oakland Fire Department, where Robertson, a 54-year-old lieutenant and the president of the Oakland firefighters union, and other firefighters are pushing to create a peer counseling program. Firefighters in general are at high risk of developing post-traumatic stress disorder, which can lead to anxiety, substance abuse and even suicide, and that has spurred firefighters in numerous cities to demand that their mental health be treated as urgently as any other injury sustained on the job.\u003c/p>\n\u003cp>Oakland fire officials insist that existing mental health services are sufficient but underused. Deputy Chief Mark Hoffmann pointed to the city’s “incredibly robust workers comp system,” and noted that firefighters who were at the Ghost Ship fire have been offered extra employee assistance program sessions, though few have claimed them.\u003c/p>\n\u003cp>Robertson disagrees. The fact that few firefighters use the current services, he said, is proof that they aren’t working. “Is it underutilized because it’s not needed, or is it underutilized because people have no faith in it?” Robertson asked.\u003c/p>\n\u003cfigure id=\"attachment_403984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-403984\" src=\"https://ww2.kqed.org/futureofyou/wp-content/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Firefighters clear debris from the entrance to the Ghost Ship warehouse in Oakland, where a fire killed 36 people on Dec. 2, 2016. \u003ccite>((Elijah Nouvelage/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘That Was Going to Sit With Me’\u003c/strong>\u003c/p>\n\u003cp>After the fire came the search for bodies. Eight men and women who participated in the recovery efforts said it was the most difficult aspect of the whole week. One fire captain, who has been with the department for more than 20 years, said thinking about it still makes him feel like he is teetering on the edge of a breakdown. He could see 10 bodies in the ash and rubble when he arrived, and he knew from the way the building collapsed that there would be more.\u003c/p>\n\u003cp>The victims died of smoke inhalation, not fire, so all their features were recognizable. The firefighters could see every detail: The cellphones in their pockets flooded with missed calls. Their tattoos. Their eyelashes. “There was no question,” said another firefighter, “that was going to sit with me for a while.”\u003c/p>\n\u003cp>All of them spoke about that day on condition of anonymity because they weren’t authorized to speak to the news media.\u003c/p>\n\u003cp>The firefighters were quick to emphasize that the Ghost Ship fire was just one in a long series of traumatic events over the course of their careers. In a big city like Oakland, they respond to everything from stubbed toes to heart attacks, from shootings to wildfires to structure fires. When asked to think back on a call that stuck with them, all the firefighters were able to conjure up several memories in perfect detail.\u003c/p>\n\u003cp>There was the firefighter-paramedic who still remembers the faces of two teenage girls shot in the head execution-style on a street. Another firefighter, in the department for less than five years, described a day when they drove an alcoholic to the hospital to get detoxed; as the man left the hospital that evening to go home, he was shot in a botched robbery, and the same team was called back to the scene to pronounce him dead.\u003c/p>\n\u003cp>Firefighters have a metaphor for their emotional baggage: the backpack. After every traumatic event, more junk is thrown into their symbolic backpacks for them to carry around each day. Eventually it will get too heavy; it will drag them down. “My backpack’s full,” said a firefighter still in his 18-month probation period. “It’s super full.”\u003c/p>\n\u003cp>PTSD and other post-trauma mental health issues can be tricky to identify in first responders, said psychologist Mark Kemena, a lead clinician for the West Coast Post-trauma Retreat, because it often builds up over time. It is like having a car alarm that is triggered when even the slightest wind passes by, said Michael Palmertree, a psychologist who has worked extensively with the Oakland Police Department.\u003c/p>\n\u003cp>There have been many studies about rates of PTSD in veterans and police, but reliable statistics for mental trauma in firefighters are hard to find. Suzy Gulliver, director of the Warriors Research Institute, is one of the few clinicians who has done studies on firefighter mental health. Over the course of a lifetime, she said, 20 to 22 percent of firefighters in the United States will experience PTSD — the same rate as returning combat veterans.\u003c/p>\n\u003cp>The consequences can be tragic. According to estimates from the National Fallen Firefighters Foundation, firefighters are three times more likely to die of suicide than in the line of duty. And many PTSD sufferers self-medicate with drugs or alcohol. Robertson said excessive drinking and substance use, including marijuana, have always been common in the fire department, particularly in young members. He himself had to go to drug rehab early in his career.\u003c/p>\n\u003caside class=\"pullquote alignright\">'When you do this for a little while, you’re scarred mentally for sure'\u003ccite>Chris Foley, Veteran fire captain\u003c/cite>\u003c/aside>\n\u003cp>“When you do this for a little while,” said Chris Foley, a veteran fire captain helping Robertson start the peer counseling program, “you’re scarred mentally for sure.”\u003c/p>\n\u003cp>\u003cstrong>Firefighters Wary of \u003c/strong>\u003cstrong>Treatment\u003c/strong>\u003c/p>\n\u003cp>Firefighters like to say that the fire service is 150 years of tradition, unimpeded by progress. When Robertson was a new recruit in the early 1990s, mental health wasn’t talked about in the firehouse. Back then, veterans from World War II, Korea, and Vietnam were on the crew, men who had already experienced their fair share of trauma.\u003c/p>\n\u003cp>“You can’t handle it?” Robertson recalled them saying if they saw a new crew member getting emotional after a run. “Then you need to go somewhere else.”\u003c/p>\n\u003cp>The culture has started changing, Robertson said, but many firefighters still won’t admit that a call affected them, fearing it would be seen as weakness and make their coworkers trust them a little less. In a recent survey conducted by the NBC Bay Area investigative news team, almost 50 percent of the 700 firefighters that responded said that concerns about colleagues not trusting their judgment contributed to the stigma of seeking mental health treatment.\u003c/p>\n\u003cp>Only one of the eight firefighters STAT interviewed who were at the scene that night has sought regular mental health treatment. For the few who do try to seek help, options are limited and, they say, often confusing.\u003c/p>\n\u003cp>Firefighters in Oakland are offered the same counseling program that every Oakland city employee gets: three free therapy sessions every six months through their employee assistance program (EAP). Tom Farris, president of Claremont EAP, which runs the city’s program, said it is designed to be a bridge to longer-term care, though firefighters have to pay for additional sessions through insurance copayments or out of pocket.\u003c/p>\n\u003cp>Complex mental health problems like PTSD are “absolutely not” resolved within three sessions, said Farris, who is a licensed psychologist. But “that’s not really what EAPs are scoped out to handle,” he said. Farris noted that in many cities, first responders are offered six to 10 EAP sessions, not three. More benefits for public safety employees “is a good idea,” he said.\u003c/p>\n\u003cp>Another resource in the fire department is a Critical Incident Stress Management team that is dispatched to fire stations after big events such as the Ghost Ship fire. The team members can vary from priests to other firefighters to experienced psychologists to brand-new therapists trying to boost their resume, and firefighters are required to sit together and debrief the incident.\u003c/p>\n\u003cp>Reactions to CISM are mixed. While psychologists say it can be very helpful, some firefighters say the team members often can’t relate to their experiences. Robertson said many of the CISM therapists wouldn’t be able to hold their own in a burning building. “Why the hell would I open up to you?” he said.\u003c/p>\n\u003cp>Hoffmann, the deputy chief who has been in the fire department 37 years, acknowledged that CISM has been “poorly applied at times” and said team members hadn’t received training “in about two years,” but he believes that it is an effective behavioral health tool.\u003c/p>\n\u003cp>Unsatisfied with the current treatment options, Robertson, along with Foley, has made it his mission in his last two years before retirement to launch a peer counseling program. They want to follow in the steps of other departments, including Phoenix and New York City, that have been using this model for years. Several other Bay Area cities have these programs, including neighboring Berkeley.\u003c/p>\n\u003cp>The International Association of Fire Fighters (IAFF) started offering peer counseling training courses last year and so far has offered 24 courses across North America. Elaine Viccora, a behavioral specialist at IAFF, said it plans to offer three to four trainings each month.\u003c/p>\n\u003cp>Robertson hopes to model the Oakland peer counseling program after the one in Phoenix. Brian French, a Phoenix firefighter, helped develop it in 2010 after four members of the department committed suicide within seven months.\u003c/p>\n\u003cp>Their model, French said, is “listen, refer, support.” Peer counselors are trained to reach out to individual station members after a critical incident and encourage them to get professional counseling if they think it is needed. French also oversees the day-to-day operations of a website called Firestrong, an online portal where fire departments around the country can list area-specific mental health resources for their members.\u003c/p>\n\u003cp>Robertson faces two main barriers as he tries to get the peer-counseling program off the ground: persuading the firefighters to admit when they need help, and convincing Hoffmann and other city administrators to pay for it.\u003c/p>\n\u003cp>It costs more than $250 for one firefighter to be trained as a peer counselor through the IAFF program, and membership to the Firestrong website is an additional $1,500 per year. So far, the union has paid for the training, and Robertson plans to push for city money in union negotiations this August.\u003c/p>\n\u003cp>But Hoffmann said he is worried that the peer counseling program won’t be inclusive and that the people chosen as counselors could just be winners of a popularity contest within the union. “The way they’re describing doing their program,” Hoffman said, “I can’t spend city money on that.”\u003c/p>\n\u003cp>\u003cstrong>‘Just Doing Our Job’\u003c/strong>\u003c/p>\n\u003cp>In early April, Robertson attended an IAFF conference in Phoenix and was surprised to receive a plaque commending the Oakland firefighters on their actions the night of the Ghost Ship fire. The honor made him distinctly uncomfortable. It was weird, he said, to get a plaque “for us just doing our job.” Especially, he added, on a night when 36 people lost their lives.\u003c/p>\n\u003cp>Robertson frowns at any mention of leaving a legacy in the department. That’s not why he’s creating the peer counseling program, he said, though it’s hard for him to come up with the words to describe why firefighter PTSD is such an important issue for him personally.\u003c/p>\n\u003cp>“It’s probably because I’m all fucked up myself by it,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was \u003ca href=\"https://www.statnews.com/2017/06/02/ghost-ship-firefighters/\" target=\"_blank\" rel=\"noopener noreferrer\">originally published by STAT\u003c/a>, an online publication of Boston Globe Media that covers health, medicine, and scientific discovery.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill Cosby went on trial Monday on charges he drugged and sexually assaulted a woman more than a decade ago, with a prosecutor warning the jury not to fall into the trap of confusing the 79-year-old comedian with the beloved family man he played on TV.\u003c/p>\n\u003cp>Cosby used his power and fame to violate an employee of Temple University’s basketball program, Assistant District Attorney Kristen Feden said in her opening statement. The TV star previously admitted under oath that he gave Andrea Constand pills and touched her genitals as she lay on his couch at his suburban Philadelphia mansion, the prosecutor said.\u003c/p>\n\u003cp>“She couldn’t say no,” Feden said. “She can’t move, she can’t talk. Completely paralyzed. Frozen. Lifeless.”\u003c/p>\n\u003cp>Defense lawyer Brian McMonagle immediately attacked what he said were inconsistencies in Constand’s story, disputed that Constand was incapacitated, and made the case that she and Cosby, who was married, had a romantic relationship. McMonagle said Cosby gave her the cold and allergy medicine Benadryl only after she complained she couldn’t sleep.\u003c/p>\n\u003cp>McMonagle said Constand changed the date of the encounter from mid-March to mid-January of 2004. And he said Constand initially told police that she and Cosby had never spoken afterward, when, in fact, phone records show the two talked 72 times after mid-January — with 53 of those calls initiated by Constand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby is charged with three counts of aggravated indecent assault. He could get 10 years in prison if convicted.\u003c/p>\n\u003cp>The TV star carried a wooden cane and grabbed his spokesman’s arm for support as he walked past dozens of cameras into the courthouse. Cosby’s wife, Camille, was not in court. But actress Keshia Knight Pulliam, who played his daughter Rudy on the top-rated \u003cem>Cosby Show\u003c/em> in the 1980s and ’90s, was at his side as he made his way into the building.\u003c/p>\n\u003cp>Cosby smiled but said nothing when someone asked how he was feeling.\u003c/p>\n\u003cp>Pulliam told reporters she came to the trial to support her TV dad.\u003c/p>\n\u003cp>“I want to be the person that I would like to have if the tables were turned,” she said. “Right now it’s the jury’s job and the jury’s decision to determine guilt or innocence. It’s not mine or anyone else’s.”\u003c/p>\n\u003cp>Constand, 44, of the Toronto area, is expected to take the stand this week and tell her story in public for the first time. A woman who claims Cosby drugged and assaulted her in 1996 will also testify in an effort by prosecutors to show that he had pattern of behavior.\u003c/p>\n\u003cp>Cosby built a good-guy reputation as a father and family man, on screen and off, during his extraordinary 50-year career in entertainment. He created TV characters, most notably Dr. Cliff Huxtable, with crossover appeal among blacks and whites alike. His TV shows, movies and comedy tours earned him an estimated $400 million.\u003c/p>\n\u003cp>Then a deposition unsealed in 2015 in a lawsuit brought by Constand revealed that Cosby had a long history of extramarital liaisons with young women and that he obtained quaaludes in the 1970s to give to women before sex. Dozens of women soon came forward to say he had drugged and assaulted them.\u003c/p>\n\u003cp>The statute of limitations for prosecuting Cosby had run out in nearly every case. This is the only one to result in criminal charges against the comic.\u003c/p>\n\u003cp>Feden told jurors that celebrities like Cosby are seen as “larger than life.”\u003c/p>\n\u003cp>“We think we really know them,” she said. “In reality, we only have a glimpse of who they really are.”\u003c/p>\n\u003cp>Prosecutors had wanted to call as many as 13 of Cosby’s more than 60 accusers as witnesses, but Montgomery County Judge Steven O’Neill ruled that only Constand and the other woman could take the stand.\u003c/p>\n\u003cp>Celebrity attorney Gloria Allred, who showed up for the first day of the trial, told reporters she is hopeful “there will be justice in this case.”\u003c/p>\n\u003cp>Allred represents several of Cosby’s accusers, including the one who will testify for the prosecution — a woman who worked for the comedian’s agent at the William Morris agency.\u003c/p>\n\u003cp>“This case is not going to be decided on optics,” Allred said. “It’s going to be decided on the evidence, and finally, it’s Mr. Cosby who’s going to have to face that evidence and confront the accusers who are against him.”\u003c/p>\n\u003cp>Constand filed a police complaint in 2005 over the encounter at Cosby’s home. The district attorney at the time said the case was too weak to prosecute. But a new set of prosecutors charged Cosby a year and a half ago after the deposition became public and numerous women came forward.\u003c/p>\n\u003cp>On Monday, McMonagle suggested Constand and the other accuser set to testify were seeking payouts over the allegations. And he told jurors that Cosby apologized to Constand’s mother in a phone call the year after the encounter not because he had assaulted her, but to say, “I’m sorry, I’m a married man, and I never should have done it.”\u003c/p>\n\u003cp>Cosby’s lawyers tried repeatedly to get the case thrown out. They said Cosby testified in the lawsuit only after being promised he could never be charged. And they argued that the delayed prosecution makes the case impossible to defend, given that witnesses have died, memories have faded and Cosby, they say, is blind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP does not typically identify people who say they are sexual assault victims 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 went on trial Monday on charges he drugged and sexually assaulted a woman more than a decade ago, with a prosecutor warning the jury not to fall into the trap of confusing the 79-year-old comedian with the beloved family man he played on TV.\u003c/p>\n\u003cp>Cosby used his power and fame to violate an employee of Temple University’s basketball program, Assistant District Attorney Kristen Feden said in her opening statement. The TV star previously admitted under oath that he gave Andrea Constand pills and touched her genitals as she lay on his couch at his suburban Philadelphia mansion, the prosecutor said.\u003c/p>\n\u003cp>“She couldn’t say no,” Feden said. “She can’t move, she can’t talk. Completely paralyzed. Frozen. Lifeless.”\u003c/p>\n\u003cp>Defense lawyer Brian McMonagle immediately attacked what he said were inconsistencies in Constand’s story, disputed that Constand was incapacitated, and made the case that she and Cosby, who was married, had a romantic relationship. McMonagle said Cosby gave her the cold and allergy medicine Benadryl only after she complained she couldn’t sleep.\u003c/p>\n\u003cp>McMonagle said Constand changed the date of the encounter from mid-March to mid-January of 2004. And he said Constand initially told police that she and Cosby had never spoken afterward, when, in fact, phone records show the two talked 72 times after mid-January — with 53 of those calls initiated by Constand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby is charged with three counts of aggravated indecent assault. He could get 10 years in prison if convicted.\u003c/p>\n\u003cp>The TV star carried a wooden cane and grabbed his spokesman’s arm for support as he walked past dozens of cameras into the courthouse. Cosby’s wife, Camille, was not in court. But actress Keshia Knight Pulliam, who played his daughter Rudy on the top-rated \u003cem>Cosby Show\u003c/em> in the 1980s and ’90s, was at his side as he made his way into the building.\u003c/p>\n\u003cp>Cosby smiled but said nothing when someone asked how he was feeling.\u003c/p>\n\u003cp>Pulliam told reporters she came to the trial to support her TV dad.\u003c/p>\n\u003cp>“I want to be the person that I would like to have if the tables were turned,” she said. “Right now it’s the jury’s job and the jury’s decision to determine guilt or innocence. It’s not mine or anyone else’s.”\u003c/p>\n\u003cp>Constand, 44, of the Toronto area, is expected to take the stand this week and tell her story in public for the first time. A woman who claims Cosby drugged and assaulted her in 1996 will also testify in an effort by prosecutors to show that he had pattern of behavior.\u003c/p>\n\u003cp>Cosby built a good-guy reputation as a father and family man, on screen and off, during his extraordinary 50-year career in entertainment. He created TV characters, most notably Dr. Cliff Huxtable, with crossover appeal among blacks and whites alike. His TV shows, movies and comedy tours earned him an estimated $400 million.\u003c/p>\n\u003cp>Then a deposition unsealed in 2015 in a lawsuit brought by Constand revealed that Cosby had a long history of extramarital liaisons with young women and that he obtained quaaludes in the 1970s to give to women before sex. Dozens of women soon came forward to say he had drugged and assaulted them.\u003c/p>\n\u003cp>The statute of limitations for prosecuting Cosby had run out in nearly every case. This is the only one to result in criminal charges against the comic.\u003c/p>\n\u003cp>Feden told jurors that celebrities like Cosby are seen as “larger than life.”\u003c/p>\n\u003cp>“We think we really know them,” she said. “In reality, we only have a glimpse of who they really are.”\u003c/p>\n\u003cp>Prosecutors had wanted to call as many as 13 of Cosby’s more than 60 accusers as witnesses, but Montgomery County Judge Steven O’Neill ruled that only Constand and the other woman could take the stand.\u003c/p>\n\u003cp>Celebrity attorney Gloria Allred, who showed up for the first day of the trial, told reporters she is hopeful “there will be justice in this case.”\u003c/p>\n\u003cp>Allred represents several of Cosby’s accusers, including the one who will testify for the prosecution — a woman who worked for the comedian’s agent at the William Morris agency.\u003c/p>\n\u003cp>“This case is not going to be decided on optics,” Allred said. “It’s going to be decided on the evidence, and finally, it’s Mr. Cosby who’s going to have to face that evidence and confront the accusers who are against him.”\u003c/p>\n\u003cp>Constand filed a police complaint in 2005 over the encounter at Cosby’s home. The district attorney at the time said the case was too weak to prosecute. But a new set of prosecutors charged Cosby a year and a half ago after the deposition became public and numerous women came forward.\u003c/p>\n\u003cp>On Monday, McMonagle suggested Constand and the other accuser set to testify were seeking payouts over the allegations. And he told jurors that Cosby apologized to Constand’s mother in a phone call the year after the encounter not because he had assaulted her, but to say, “I’m sorry, I’m a married man, and I never should have done it.”\u003c/p>\n\u003cp>Cosby’s lawyers tried repeatedly to get the case thrown out. They said Cosby testified in the lawsuit only after being promised he could never be charged. And they argued that the delayed prosecution makes the case impossible to defend, given that witnesses have died, memories have faded and Cosby, they say, is blind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP does not typically identify people who say they are sexual assault victims 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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"content": "\u003cp>British actor Peter Sallis, who played irrepressible, cheese-loving inventor Wallace in the \u003cem>Wallace and Gromit\u003c/em> cartoons, has died, his agent said Monday. He was 96.\u003c/p>\n\u003cp>Sallis’ talent agency, Jonathan Altaras Associates, said he died Friday at a retirement home for actors in London.\u003c/p>\n\u003cp>Born in London in 1921, Sallis began his working life in a bank, but caught the acting bug as a Royal Air Force serviceman during World War II. After the war, he attended the Royal Academy of Dramatic Art and built up a diverse career onstage and in British film and television.\u003c/p>\n\u003cp>He became famous in Britain as a star of the long-running sitcom \u003cem>Last of the Summer Wine\u003c/em>. Sallis was proud to have appeared in every episode during the show’s 37-year run.\u003c/p>\n\u003cp>Millions around the world know his voice from animator Nick Park’s \u003cem>Wallace and Gromit\u003c/em>, which charted the adventures of a cheese-loving Yorkshireman with a passion for inventing wild contraptions and his level-headed, silent dog, Gromit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With their old-fashioned stop-motion animation and lightly anarchic British humor, Park’s short films, feature and BBC series gained fans around the world.\u003c/p>\n\u003cp>Two of the films, \u003cem>The Wrong Trousers\u003c/em> and \u003cem>A Close Shave\u003c/em> won Academy Awards.\u003c/p>\n\u003cp>The bald, green-vested character Sallis voiced between 1989 and 2010 was instantly recognizable from his down-to-earth Yorkshire accent and frequent exclamation of “Cheese, Gromit!”\u003c/p>\n\u003cp>Park said Sallis “was always my first and only choice for Wallace.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He brought his unique gift and humor to all that he did, and encapsulated the very British art of the droll and understated,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Peter Sallis, who played irrepressible, cheese-loving inventor Wallace in the \u003cem>Wallace and Gromit\u003c/em> cartoons, has died, his agent said Monday. He was 96.\u003c/p>\n\u003cp>Sallis’ talent agency, Jonathan Altaras Associates, said he died Friday at a retirement home for actors in London.\u003c/p>\n\u003cp>Born in London in 1921, Sallis began his working life in a bank, but caught the acting bug as a Royal Air Force serviceman during World War II. After the war, he attended the Royal Academy of Dramatic Art and built up a diverse career onstage and in British film and television.\u003c/p>\n\u003cp>He became famous in Britain as a star of the long-running sitcom \u003cem>Last of the Summer Wine\u003c/em>. Sallis was proud to have appeared in every episode during the show’s 37-year run.\u003c/p>\n\u003cp>Millions around the world know his voice from animator Nick Park’s \u003cem>Wallace and Gromit\u003c/em>, which charted the adventures of a cheese-loving Yorkshireman with a passion for inventing wild contraptions and his level-headed, silent dog, Gromit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With their old-fashioned stop-motion animation and lightly anarchic British humor, Park’s short films, feature and BBC series gained fans around the world.\u003c/p>\n\u003cp>Two of the films, \u003cem>The Wrong Trousers\u003c/em> and \u003cem>A Close Shave\u003c/em> won Academy Awards.\u003c/p>\n\u003cp>The bald, green-vested character Sallis voiced between 1989 and 2010 was instantly recognizable from his down-to-earth Yorkshire accent and frequent exclamation of “Cheese, Gromit!”\u003c/p>\n\u003cp>Park said Sallis “was always my first and only choice for Wallace.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He brought his unique gift and humor to all that he did, and encapsulated the very British art of the droll and understated,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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