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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Thursday at the \u003ca href=\"https://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, Bryan Doerries staged a one-night-only reading of the Ancient Greek dramatist Euripides’ 2,500-year-old play \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For Doerries, the Brooklyn-based artistic director of \u003ca href=\"http://theaterofwar.com/projects/theater-of-war/overview\" target=\"_blank\" rel=\"noopener\">Theater of War Productions\u003c/a>, the reading itself was secondary — almost beside the point. As he put it, “The audience is everything.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event, titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, is part of a series of staged readings that Theater of War presents to different communities around the country. Self-described as a “social impact company,” it uses theater to address a wide range of social issues. Doerries brought \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to the Bayview-Hunters Point neighborhood to initiate a discussion, he said, “about the timeless experience of violence.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123702 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg\" alt=\"Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\u003c/figcaption>\u003c/figure>\n\u003cp>After the reading ended, a group of five panelists, chosen for their ties to the Bayview community, sat together on stage to talk about their experience of violence in the neighborhood. To focus the discussion, Doerries had instructed them to base their remarks on what moved them about the ancient play.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The figure of Hercules is best known today from his appearances in pop culture pictures. Disney drew \u003ca href=\"http://www.nytimes.com/movie/review?res=9806E1DD173FF930A25755C0A961958260\" target=\"_blank\" rel=\"noopener\">him\u003c/a> in bright primary colors. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.facebook.com/Hercules3d/\" target=\"_blank\" rel=\"noopener\">Kellan Lutz\u003c/a> and \u003ca href=\"https://www.rottentomatoes.com/m/hercules_the_thracian_wars/\" target=\"_blank\" rel=\"noopener\">Dwayne “The Rock” Johnson\u003c/a> attempted to embody him with their outsized chests. He’s the most masculine of Greek heroes, vanquishing armies, enduring his labors and subduing monsters. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Euripides’ play is set after his famous exploits when, in an inexplicable fit, he kills his wife and children. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">depicts a life that’s been suffused with and motivated by violence. The play’s mournful tone examines the emotional aftermath of living such an aggrieved life, as well as the devastation of carrying on after your loved ones are dead.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123703 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg\" alt=\"Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529.jpg 834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Woods was one of the community panelists on stage. In Dec. 2015, her son Mario was killed on 3rd Street in the Bayview. Woods spoke eloquently about her grief, finding parallels between Hercules’ request for his children’s burial rites and her own. “We buried that child with all the dignity he deserved that I wanted,” Woods said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another panelist, Takija Gardner, is the executive director at Bayview-Hunters Point YMCA. She grew up in the neighborhood and lost her brother to violence, “He was murdered by his friends,” Gardner said. She cited Hercules’ lament “I’m cursed by the gods,” but brought it down to earth, applying it to her own experience. “I think about structures and institutions and how young black men in this community have to go through so many barriers to figure out what their worth is,” Gardner said.\u003c/p>\n\u003cfigure id=\"attachment_13123704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123704 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading-800x533.jpg\" alt=\"Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the panelists had finished their initial thoughts and reactions to the play, Doerries opened the floor for questions and comments. Audience member Cephus “Uncle Bobby” Johnson spoke first, followed by Sala-Haquekyah Chandler. Both took the opportunity to remind those present that their grief, and shared that their ensuing feelings of rage hadn’t abated. Johnson mentioned the date of his nephew Oscar Grant’s death at Oakland’s Fruitvale Station on in Jan. 2009. Chandler also spoke about her loss: her son Yalani was killed in Hayes Valley in Jan. 2015.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As each witness or relative to violence told his or her story, it became evident that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> wasn’t designed as a problem-solving event. The real life tragedies and remembrances of loved ones lost impacted the hushed audience more than the star-studded reading, involving Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey. Intent on encouraging a shared public catharsis, Doerries the theater director achieved his goal.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Thursday at the \u003ca href=\"https://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, Bryan Doerries staged a one-night-only reading of the Ancient Greek dramatist Euripides’ 2,500-year-old play \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For Doerries, the Brooklyn-based artistic director of \u003ca href=\"http://theaterofwar.com/projects/theater-of-war/overview\" target=\"_blank\" rel=\"noopener\">Theater of War Productions\u003c/a>, the reading itself was secondary — almost beside the point. As he put it, “The audience is everything.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event, titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, is part of a series of staged readings that Theater of War presents to different communities around the country. Self-described as a “social impact company,” it uses theater to address a wide range of social issues. Doerries brought \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to the Bayview-Hunters Point neighborhood to initiate a discussion, he said, “about the timeless experience of violence.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123702 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg\" alt=\"Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\u003c/figcaption>\u003c/figure>\n\u003cp>After the reading ended, a group of five panelists, chosen for their ties to the Bayview community, sat together on stage to talk about their experience of violence in the neighborhood. To focus the discussion, Doerries had instructed them to base their remarks on what moved them about the ancient play.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The figure of Hercules is best known today from his appearances in pop culture pictures. Disney drew \u003ca href=\"http://www.nytimes.com/movie/review?res=9806E1DD173FF930A25755C0A961958260\" target=\"_blank\" rel=\"noopener\">him\u003c/a> in bright primary colors. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.facebook.com/Hercules3d/\" target=\"_blank\" rel=\"noopener\">Kellan Lutz\u003c/a> and \u003ca href=\"https://www.rottentomatoes.com/m/hercules_the_thracian_wars/\" target=\"_blank\" rel=\"noopener\">Dwayne “The Rock” Johnson\u003c/a> attempted to embody him with their outsized chests. He’s the most masculine of Greek heroes, vanquishing armies, enduring his labors and subduing monsters. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Euripides’ play is set after his famous exploits when, in an inexplicable fit, he kills his wife and children. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">depicts a life that’s been suffused with and motivated by violence. The play’s mournful tone examines the emotional aftermath of living such an aggrieved life, as well as the devastation of carrying on after your loved ones are dead.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123703 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg\" alt=\"Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529.jpg 834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Woods was one of the community panelists on stage. In Dec. 2015, her son Mario was killed on 3rd Street in the Bayview. Woods spoke eloquently about her grief, finding parallels between Hercules’ request for his children’s burial rites and her own. “We buried that child with all the dignity he deserved that I wanted,” Woods said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another panelist, Takija Gardner, is the executive director at Bayview-Hunters Point YMCA. She grew up in the neighborhood and lost her brother to violence, “He was murdered by his friends,” Gardner said. She cited Hercules’ lament “I’m cursed by the gods,” but brought it down to earth, applying it to her own experience. “I think about structures and institutions and how young black men in this community have to go through so many barriers to figure out what their worth is,” Gardner said.\u003c/p>\n\u003cfigure id=\"attachment_13123704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123704 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading-800x533.jpg\" alt=\"Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the panelists had finished their initial thoughts and reactions to the play, Doerries opened the floor for questions and comments. Audience member Cephus “Uncle Bobby” Johnson spoke first, followed by Sala-Haquekyah Chandler. Both took the opportunity to remind those present that their grief, and shared that their ensuing feelings of rage hadn’t abated. Johnson mentioned the date of his nephew Oscar Grant’s death at Oakland’s Fruitvale Station on in Jan. 2009. Chandler also spoke about her loss: her son Yalani was killed in Hayes Valley in Jan. 2015.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As each witness or relative to violence told his or her story, it became evident that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> wasn’t designed as a problem-solving event. The real life tragedies and remembrances of loved ones lost impacted the hushed audience more than the star-studded reading, involving Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey. Intent on encouraging a shared public catharsis, Doerries the theater director achieved his goal.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cspan style=\"font-weight: 400\">Over the past hundred days, KQED Arts has been \u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">tracking artistic responses to the Trump Administration\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Toward the end of that time period, I gathered a small group of creative people working at the front lines of the Bay Area’s artistic resistance — interdisciplinary artist and activist Favianna Rodriguez, spoken-word poet and playwright Marc Bamuthi Joseph, stand up comedian Dhaya Lakshminarayanan, and music impresario Jordan Kurland — for a conversation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I wanted to know how their jobs had changed, and what strategies they had to keep placing culture at the heart of the ongoing struggle for things like civil rights and environmental justice.\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>“The role of artists is so critical, because we need to shift culture. And culture moves so much more quickly than politics. In fact, politics is the manifestation of an idea whose time has already come.” – Favianna Rodriguez\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">What follows is an edited version of our discussion which took place before a live audience at\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.thebatterysf.com/\" target=\"_blank\" rel=\"noopener\">The Battery\u003c/a> in San Francisco on Thursday, Apr. 20.\u003c/span>\u003c/p>\n\u003cp>[audio src=\"http:www.kqed.org/.stream/anon/radio//2017/04/StateofPoliticalArtv.mp3\" title=\"State of Political Art\" program=\"100 Days\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Favianna-Rodriguez-Embracing-The-Velocity-Of-Change-cropped.jpg\"]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio segment created in collaboration with The Battery, KQED producer Eli Wirtschafter and musician \u003ca href=\"http://soundcloud.com/robindupont\" target=\"_blank\" rel=\"noopener\">Robin DuPont\u003c/a>. Read more about Dupont’s song “He Will Not Divide Us” and listen to the full track \u003ca href=\"https://ww2.kqed.org/arts/2017/02/17/in-he-will-not-divide-us-immigration-issues-hit-robin-dupont-close-to-home/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cspan style=\"font-weight: 400\">Over the past hundred days, KQED Arts has been \u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">tracking artistic responses to the Trump Administration\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Toward the end of that time period, I gathered a small group of creative people working at the front lines of the Bay Area’s artistic resistance — interdisciplinary artist and activist Favianna Rodriguez, spoken-word poet and playwright Marc Bamuthi Joseph, stand up comedian Dhaya Lakshminarayanan, and music impresario Jordan Kurland — for a conversation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I wanted to know how their jobs had changed, and what strategies they had to keep placing culture at the heart of the ongoing struggle for things like civil rights and environmental justice.\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>“The role of artists is so critical, because we need to shift culture. And culture moves so much more quickly than politics. In fact, politics is the manifestation of an idea whose time has already come.” – Favianna Rodriguez\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">What follows is an edited version of our discussion which took place before a live audience at\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.thebatterysf.com/\" target=\"_blank\" rel=\"noopener\">The Battery\u003c/a> in San Francisco on Thursday, Apr. 20.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A founding member of Jefferson Starship filed a lawsuit Thursday to stop some of his former bandmates from using the band’s name for upcoming performances and merchandise.\u003c/p>\n\u003cp>Guitarist Craig Chaquico is asking a judge to prevent a new iteration of Jefferson Starship from using the name in the federal lawsuit filed in San Francisco. He claims the group has been using the Jefferson Starship name without permission, and has used his image to promote shows through early 2018.\u003c/p>\n\u003cp>The lawsuit said the band’s members agreed to retire the Jefferson Starship name in 1985 after founding member Paul Kantner left the group.\u003c/p>\n\u003cp>Chaquico allowed Kantner to use the Jefferson Starship name for several years, but that right ended when Kantner died in 2016, the lawsuit said.\u003c/p>\n\u003cp>Jim Lenz, to a representative for the new iteration of Jefferson Starship, did not immediately respond to an emailed message seeking comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band has gone through numerous iterations, starting out as Jefferson Airplane, which featured Grace Slick singing huge hits such as “White Rabbit” and “Somebody to Love” and famed guitarist Jorma Kaukonen.\u003c/p>\n\u003cp>Chaquico, who was discovered by Kantner, performed with Jefferson Airplane a few times before it disbanded in 1972.\u003c/p>\n\u003cp>Several of the band’s members formed Jefferson Starship in 1974, but it broke up a decade later. Chaquico and other members then formed a new group, Starship, which recorded the hit “We Built This City.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This case is about tarnishing the legacy of the original Jefferson Starship band,” Chaquico said in a statement. “We retired the name in 1985 and we agreed that nobody would use the name again. For this band line-up to tour and call itself Jefferson Starship is woefully misleading to the public and confuses longtime fans.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A founding member of Jefferson Starship filed a lawsuit Thursday to stop some of his former bandmates from using the band’s name for upcoming performances and merchandise.\u003c/p>\n\u003cp>Guitarist Craig Chaquico is asking a judge to prevent a new iteration of Jefferson Starship from using the name in the federal lawsuit filed in San Francisco. He claims the group has been using the Jefferson Starship name without permission, and has used his image to promote shows through early 2018.\u003c/p>\n\u003cp>The lawsuit said the band’s members agreed to retire the Jefferson Starship name in 1985 after founding member Paul Kantner left the group.\u003c/p>\n\u003cp>Chaquico allowed Kantner to use the Jefferson Starship name for several years, but that right ended when Kantner died in 2016, the lawsuit said.\u003c/p>\n\u003cp>Jim Lenz, to a representative for the new iteration of Jefferson Starship, did not immediately respond to an emailed message seeking comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band has gone through numerous iterations, starting out as Jefferson Airplane, which featured Grace Slick singing huge hits such as “White Rabbit” and “Somebody to Love” and famed guitarist Jorma Kaukonen.\u003c/p>\n\u003cp>Chaquico, who was discovered by Kantner, performed with Jefferson Airplane a few times before it disbanded in 1972.\u003c/p>\n\u003cp>Several of the band’s members formed Jefferson Starship in 1974, but it broke up a decade later. Chaquico and other members then formed a new group, Starship, which recorded the hit “We Built This City.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This case is about tarnishing the legacy of the original Jefferson Starship band,” Chaquico said in a statement. “We retired the name in 1985 and we agreed that nobody would use the name again. For this band line-up to tour and call itself Jefferson Starship is woefully misleading to the public and confuses longtime fans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "student-project-to-beautify-oakland-underpass-hampered-by-caltrans",
"title": "Student Project to Beautify Oakland Underpass Hampered by Caltrans",
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"content": "\u003cp>The line of children marched up West Street in West Oakland Wednesday afternoon chanting “Art is peace, art is peace.” Just a few blocks away, 18 fourth graders from \u003ca href=\"http://www.ousd.org/hoover\" target=\"_blank\" rel=\"noopener\">Hoover Elementary\u003c/a> started a new round: “We can inspire, we can inspire.”\u003c/p>\n\u003cp>[contextly_sidebar id=”RQQvqzOaAdcqfRpksK3ii9unjM2z2uUN”]\u003c/p>\n\u003cp>The students and their teachers stopped under the I-580 freeway, in an underpass strewn with trash and old clothes, holding up their posters — “Life is Better with Art,” one read. Some held painted canvases showing the design for a mural they’ve worked on for months with help from the activists and artists at \u003ca href=\"http://www.ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a>.\u003c/p>\n\u003cp>But right now, according to Attitudinal Healing Executive Director Amana Harris, “\u003ca href=\"http://www.dot.ca.gov/\" target=\"_blank\" rel=\"noopener\">Caltrans\u003c/a> is stopping us.”\u003c/p>\n\u003cfigure id=\"attachment_13117876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3680-800x600.jpg\" alt=\"Hoover Elementary 4th graders protest a Caltrans policy holding up a new mural on a Highway 580 underpass\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hoover Elementary 4th graders protest a Caltrans policy holding up a new mural on a Highway 580 underpass. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harris’s group has worked with Oakland school children for years on what’s called the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, creating three murals so far. Those include one directly across the street on Caltrans property, painted in 2015 by students at West Oakland Middle School.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This artwork,” Harris said, “gives our kids an opportunity to have a stake in public spaces, these neglected blighted horrific spaces, where there are trash and needles.”\u003c/p>\n\u003cfigure id=\"attachment_13117872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-800x538.jpg\" alt=\"Trash and old clothes litter the sidewalk of an I-580 freeway underpass on West Street in Oakland\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trash and old clothes litter the sidewalk of an I-580 freeway underpass on West Street in Oakland. \u003ccite>(Photo: Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this time, Harris says Caltrans has added a new requirement that the students and artists sign away the copyright to the work, and Harris said that’s impossible.\u003c/p>\n\u003cp>“Caltrans wants exclusive copyrights. But guess what, we don’t have exclusive copyrights to give. We have a license from parents to use images of the student’s artwork.”\u003c/p>\n\u003cfigure id=\"attachment_13117880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3685-800x600.jpg\" alt=\"A section of the Oakland Super Heroes Project mural done in 2015 by students at West Oakland Middle School\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section of the Oakland Super Heroes Project mural completed in 2015 by students at West Oakland Middle School. \u003ccite>(Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caltrans Spokesman Bob Haus says the state agency, which owns the underpass, has changed the documentation required for murals on its property.\u003c/p>\n\u003cp>“What’s different this time,” he said in a telephone interview, “is that there’s a separate form to fill out just to make sure everyone understands that the copyright is assigned to us. This way we’ll make sure there’s no misunderstanding.”\u003c/p>\n\u003cp>The problem, said Haus, is that if the mural is damaged in any way, Caltrans has to fix it. “And we can’t do that,” he said, “if we don’t have the copyright.”\u003c/p>\n\u003cp>But the artist and kids, Haus claimed, retain all rights to the images.\u003c/p>\n\u003cfigure id=\"attachment_13117873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-800x450.jpg\" alt=\"A Hoover Elementary 4th grader holds a canvas showing a section of the planned mural for the I-580 underpass wall behind him\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Hoover Elementary fourth grader holds a canvas showing a section of the planned mural for the I-580 underpass wall behind him. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City officials from San Jose, Oakland and San Francisco recently sent letters to Caltrans’ public art division suggesting ways to resolve the dispute, noting they were surprised to see the state agency insisting on the copyright provision.\u003c/p>\n\u003cp>Susan Pontious, program director for the Public Art Program in San Francisco, wrote that her office funds murals throughout the city, with artists retaining their copyright — but giving up state and federal rights to protect the image against any future change, “because of their inherently temporary nature.”\u003c/p>\n\u003cp>Spokesman Haus couldn’t comment on the letters, but in a email following our interview, he wrote:”We understand Attitudinal Healing Connection’s concerns regarding the copyright policy and we are working to resolve this issue.”\u003c/p>\n\u003cfigure id=\"attachment_13117881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-800x450.jpg\" alt=\"The I-580 underpass wall where the Oakland Super Heroes Project wants to paint a mural\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The I-580 underpass wall where the Oakland Super Heroes Project wants to paint a mural. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was news to Harris, who said no one from Caltrans had contacted her to schedule a meeting.\u003c/p>\n\u003cp>Meanwhile, students who marched said the standoff was deeply disappointing.\u003c/p>\n\u003cp>“This would be the pretty side of the street too,” said fourth grader Destiny Johnson, looking across the street at the mural painted in 2015. The West Street underpass is on her route from home to school every day.\u003c/p>\n\u003cp>“I think to myself, ‘We should have our mural here,’” Johnson said. “But the sad thing about it is that school is about to be out, and the kids are going to be at home.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The line of children marched up West Street in West Oakland Wednesday afternoon chanting “Art is peace, art is peace.” Just a few blocks away, 18 fourth graders from \u003ca href=\"http://www.ousd.org/hoover\" target=\"_blank\" rel=\"noopener\">Hoover Elementary\u003c/a> started a new round: “We can inspire, we can inspire.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The students and their teachers stopped under the I-580 freeway, in an underpass strewn with trash and old clothes, holding up their posters — “Life is Better with Art,” one read. Some held painted canvases showing the design for a mural they’ve worked on for months with help from the activists and artists at \u003ca href=\"http://www.ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a>.\u003c/p>\n\u003cp>But right now, according to Attitudinal Healing Executive Director Amana Harris, “\u003ca href=\"http://www.dot.ca.gov/\" target=\"_blank\" rel=\"noopener\">Caltrans\u003c/a> is stopping us.”\u003c/p>\n\u003cfigure id=\"attachment_13117876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3680-800x600.jpg\" alt=\"Hoover Elementary 4th graders protest a Caltrans policy holding up a new mural on a Highway 580 underpass\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3680.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hoover Elementary 4th graders protest a Caltrans policy holding up a new mural on a Highway 580 underpass. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harris’s group has worked with Oakland school children for years on what’s called the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, creating three murals so far. Those include one directly across the street on Caltrans property, painted in 2015 by students at West Oakland Middle School.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This artwork,” Harris said, “gives our kids an opportunity to have a stake in public spaces, these neglected blighted horrific spaces, where there are trash and needles.”\u003c/p>\n\u003cfigure id=\"attachment_13117872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-800x538.jpg\" alt=\"Trash and old clothes litter the sidewalk of an I-580 freeway underpass on West Street in Oakland\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3677-e1493309846566.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trash and old clothes litter the sidewalk of an I-580 freeway underpass on West Street in Oakland. \u003ccite>(Photo: Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this time, Harris says Caltrans has added a new requirement that the students and artists sign away the copyright to the work, and Harris said that’s impossible.\u003c/p>\n\u003cp>“Caltrans wants exclusive copyrights. But guess what, we don’t have exclusive copyrights to give. We have a license from parents to use images of the student’s artwork.”\u003c/p>\n\u003cfigure id=\"attachment_13117880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3685-800x600.jpg\" alt=\"A section of the Oakland Super Heroes Project mural done in 2015 by students at West Oakland Middle School\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3685.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section of the Oakland Super Heroes Project mural completed in 2015 by students at West Oakland Middle School. \u003ccite>(Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caltrans Spokesman Bob Haus says the state agency, which owns the underpass, has changed the documentation required for murals on its property.\u003c/p>\n\u003cp>“What’s different this time,” he said in a telephone interview, “is that there’s a separate form to fill out just to make sure everyone understands that the copyright is assigned to us. This way we’ll make sure there’s no misunderstanding.”\u003c/p>\n\u003cp>The problem, said Haus, is that if the mural is damaged in any way, Caltrans has to fix it. “And we can’t do that,” he said, “if we don’t have the copyright.”\u003c/p>\n\u003cp>But the artist and kids, Haus claimed, retain all rights to the images.\u003c/p>\n\u003cfigure id=\"attachment_13117873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-800x450.jpg\" alt=\"A Hoover Elementary 4th grader holds a canvas showing a section of the planned mural for the I-580 underpass wall behind him\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3678-e1493310288633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Hoover Elementary fourth grader holds a canvas showing a section of the planned mural for the I-580 underpass wall behind him. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City officials from San Jose, Oakland and San Francisco recently sent letters to Caltrans’ public art division suggesting ways to resolve the dispute, noting they were surprised to see the state agency insisting on the copyright provision.\u003c/p>\n\u003cp>Susan Pontious, program director for the Public Art Program in San Francisco, wrote that her office funds murals throughout the city, with artists retaining their copyright — but giving up state and federal rights to protect the image against any future change, “because of their inherently temporary nature.”\u003c/p>\n\u003cp>Spokesman Haus couldn’t comment on the letters, but in a email following our interview, he wrote:”We understand Attitudinal Healing Connection’s concerns regarding the copyright policy and we are working to resolve this issue.”\u003c/p>\n\u003cfigure id=\"attachment_13117881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13117881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-800x450.jpg\" alt=\"The I-580 underpass wall where the Oakland Super Heroes Project wants to paint a mural\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_3686-e1493310017664.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The I-580 underpass wall where the Oakland Super Heroes Project wants to paint a mural. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was news to Harris, who said no one from Caltrans had contacted her to schedule a meeting.\u003c/p>\n\u003cp>Meanwhile, students who marched said the standoff was deeply disappointing.\u003c/p>\n\u003cp>“This would be the pretty side of the street too,” said fourth grader Destiny Johnson, looking across the street at the mural painted in 2015. The West Street underpass is on her route from home to school every day.\u003c/p>\n\u003cp>“I think to myself, ‘We should have our mural here,’” Johnson said. “But the sad thing about it is that school is about to be out, and the kids are going to be at home.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "CARTOONS: Berkeley Protest After Canceled Ann Coulter Talk",
"title": "CARTOONS: Berkeley Protest After Canceled Ann Coulter Talk",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Sketches of the April 27 protest at UC Berkeley organized ahead of a planned Ann Coulter speech. Though the talk was called off, demonstrators still descended on the campus and city of Berkeley.\u003c/p>\n\u003cp>\u003cstrong>\"Evel Knievel Inspiration\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429941\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/EvilK-800x1067.jpg\" alt=\"EvilK\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\"Respect Berkeley\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430143\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg\" alt=\"Respect Berkeley-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\"Crowded Skies Overhead\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429927\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg\" alt=\"Crowdedskies-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Oath Keepers Parking'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430144\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg\" alt=\"Oath Keepers Parking-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Antifa Yelling'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430296\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg\" alt=\"Antifa-qut\" width=\"800\" height=\"895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-160x179.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-240x268.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-375x419.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-520x581.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut.jpg 838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Woman in Headscarf, Walking in Park'\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429929\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg\" alt=\"Headscarf-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg 800w, 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"excerpt": "Sketches by KQED cartoonist Mark Fiore of the April 27 protest at UC Berkeley, organized ahead of a planned, but now scrapped, Ann Coulter speech.",
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"description": "Sketches by KQED cartoonist Mark Fiore of the April 27 protest at UC Berkeley, organized ahead of a planned, but now scrapped, Ann Coulter speech.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sketches of the April 27 protest at UC Berkeley organized ahead of a planned Ann Coulter speech. Though the talk was called off, demonstrators still descended on the campus and city of Berkeley.\u003c/p>\n\u003cp>\u003cstrong>\"Evel Knievel Inspiration\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429941\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/EvilK-800x1067.jpg\" alt=\"EvilK\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\"Respect Berkeley\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430143\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg\" alt=\"Respect Berkeley-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\"Crowded Skies Overhead\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429927\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg\" alt=\"Crowdedskies-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Oath Keepers Parking'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430144\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg\" alt=\"Oath Keepers Parking-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Antifa Yelling'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430296\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg\" alt=\"Antifa-qut\" width=\"800\" height=\"895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-160x179.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-240x268.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-375x419.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-520x581.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut.jpg 838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Woman in Headscarf, Walking in Park'\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429929\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg\" alt=\"Headscarf-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "artists-evicted-from-commercially-zoned-bernal-heights-warehouse",
"title": "Artists Evicted from Commercially Zoned Bernal Heights Warehouse",
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"headTitle": "Artists Evicted from Commercially Zoned Bernal Heights Warehouse | KQED",
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"content": "\u003cp>Deputies from the San Francisco Sheriff’s Department evicted tenants from an arts warehouse in Bernal Heights early Wednesday afternoon, marking what might be the first court-sanctioned San Francisco arts warehouse eviction since last December’s deadly \u003ca href=\"https://ww2.kqed.org/news/2017/01/12/ghost-ship-fire-prompts-sffd-to-consider-random-warehouse-inspections/\" target=\"_blank\" rel=\"noopener\">Ghost Ship fire\u003c/a>.\u003c/p>\n\u003cp>In March, a San Francisco Superior Court judge ruled that the occupants of 968 Peralta Avenue were living unlawfully in a commercially leased building. The eight residents, who failed to successfully appeal their eviction notice, had until Wednesday morning to load their belongings into boxes before deputies arrived to escort them out.\u003c/p>\n\u003cfigure id=\"attachment_13114711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg\" alt=\"Tenants empty the Bernal Heights converted warehouse before deputies arrive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenants empty the Bernal Heights converted warehouse before deputies arrive. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landlord Ron Erickson has owned and rented out the building for 17 years. Erickson says he called for the tenants’ eviction after visiting the space last December and finding out it had been converted into an eight-bedroom apartment.\u003c/p>\n\u003cp>“They violated the lease,” Erickson says. “My job is property management. I live by the rules and I live by the laws.”\u003c/p>\n\u003cp>Erickson says he plans to gut the building and turn it back into a warehouse, though he says he might eventually turn it into housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choreographer Nathan Cottam has been living in the building since October 2014. He says that the landlord has known people were living in the space for at least 15 years. Erickson denies this claim.\u003c/p>\n\u003cfigure id=\"attachment_13114715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg\" alt=\"The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole lot has been used for residential purposes since 2001,” Cottam says. “The landlord had been operating under ‘I don’t care what you do there, just keep me out of it.’”\u003c/p>\n\u003cp>Following the Ghost Ship fire, Cottam says he and his fellow tenants hoped to ensure their safety by being upfront with the personnel from city agencies who came to inspect the property. Cottom says the building underwent multiple fire department inspections and hearings, and that it was cleared of safety breaches.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://data.sfgov.org/Housing-and-Buildings/Fire-Inspections/wb4c-6hwj/data\" target=\"_blank\" rel=\"noopener\">was able to confirm\u003c/a> the fire department did conduct three violation inspections at the property and one hearing re-inspection between December of last year and this past February. The inspection status for all four is listed “pending.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4frp1ZnjO0Q&feature=youtu.be\u003c/p>\n\u003cp>Cottam says he and the other residents applied to get rent control on the building when they were first served their eviction notice. The city handles these types of issues on a \u003ca href=\"https://www.sftu.org/rentcontrol/#Commercial_Units_Used_as_Residential_with_the_Landlord8217s_Knowledge_Are_Not_Exempt_from_Rent_Control\" target=\"_blank\" rel=\"noopener\">case-by-case basis\u003c/a>. “This is an unusual case,” says San Francisco Rent Board executive director Robert Collins. Cottam had expected a response from the rent control board in the next two weeks — a decision that may now be moot.\u003c/p>\n\u003cp>Tenant and artist Tony Burgess, who has lived in the space for more than a year and a half, was loading his boxed belongings onto a U-Haul truck as deputies arrived. Burgess is well aware of the dangers that can befall converted spaces, and says he lost 10 friends to the Ghost Ship fire. But the eviction caught him off guard.\u003c/p>\n\u003cp>“I will probably get a storage unit for my stuff,” Burgess says. “I have no idea where I’ll go or where I’ll sleep tonight.”\u003c/p>\n\u003cp>Cottam plans on moving in with a friend in the Sunset for a few nights. He says he’s heartbroken about leaving the home he’s worked hard to make safe, but he’s trying to stay positive. “I’m gonna keep going,” Cottam says. I’m gonna find a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Claudia Escobar and Tiffany Camhi.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Eight artists living in a commercially-zoned property were served a court-ordered eviction notice on Wednesday. ",
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"title": "Artists Evicted from Commercially Zoned Bernal Heights Warehouse | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deputies from the San Francisco Sheriff’s Department evicted tenants from an arts warehouse in Bernal Heights early Wednesday afternoon, marking what might be the first court-sanctioned San Francisco arts warehouse eviction since last December’s deadly \u003ca href=\"https://ww2.kqed.org/news/2017/01/12/ghost-ship-fire-prompts-sffd-to-consider-random-warehouse-inspections/\" target=\"_blank\" rel=\"noopener\">Ghost Ship fire\u003c/a>.\u003c/p>\n\u003cp>In March, a San Francisco Superior Court judge ruled that the occupants of 968 Peralta Avenue were living unlawfully in a commercially leased building. The eight residents, who failed to successfully appeal their eviction notice, had until Wednesday morning to load their belongings into boxes before deputies arrived to escort them out.\u003c/p>\n\u003cfigure id=\"attachment_13114711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg\" alt=\"Tenants empty the Bernal Heights converted warehouse before deputies arrive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenants empty the Bernal Heights converted warehouse before deputies arrive. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landlord Ron Erickson has owned and rented out the building for 17 years. Erickson says he called for the tenants’ eviction after visiting the space last December and finding out it had been converted into an eight-bedroom apartment.\u003c/p>\n\u003cp>“They violated the lease,” Erickson says. “My job is property management. I live by the rules and I live by the laws.”\u003c/p>\n\u003cp>Erickson says he plans to gut the building and turn it back into a warehouse, though he says he might eventually turn it into housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Choreographer Nathan Cottam has been living in the building since October 2014. He says that the landlord has known people were living in the space for at least 15 years. Erickson denies this claim.\u003c/p>\n\u003cfigure id=\"attachment_13114715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg\" alt=\"The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole lot has been used for residential purposes since 2001,” Cottam says. “The landlord had been operating under ‘I don’t care what you do there, just keep me out of it.’”\u003c/p>\n\u003cp>Following the Ghost Ship fire, Cottam says he and his fellow tenants hoped to ensure their safety by being upfront with the personnel from city agencies who came to inspect the property. Cottom says the building underwent multiple fire department inspections and hearings, and that it was cleared of safety breaches.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://data.sfgov.org/Housing-and-Buildings/Fire-Inspections/wb4c-6hwj/data\" target=\"_blank\" rel=\"noopener\">was able to confirm\u003c/a> the fire department did conduct three violation inspections at the property and one hearing re-inspection between December of last year and this past February. The inspection status for all four is listed “pending.”\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/4frp1ZnjO0Q'\n title='//www.youtube.com/embed/4frp1ZnjO0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cottam says he and the other residents applied to get rent control on the building when they were first served their eviction notice. The city handles these types of issues on a \u003ca href=\"https://www.sftu.org/rentcontrol/#Commercial_Units_Used_as_Residential_with_the_Landlord8217s_Knowledge_Are_Not_Exempt_from_Rent_Control\" target=\"_blank\" rel=\"noopener\">case-by-case basis\u003c/a>. “This is an unusual case,” says San Francisco Rent Board executive director Robert Collins. Cottam had expected a response from the rent control board in the next two weeks — a decision that may now be moot.\u003c/p>\n\u003cp>Tenant and artist Tony Burgess, who has lived in the space for more than a year and a half, was loading his boxed belongings onto a U-Haul truck as deputies arrived. Burgess is well aware of the dangers that can befall converted spaces, and says he lost 10 friends to the Ghost Ship fire. But the eviction caught him off guard.\u003c/p>\n\u003cp>“I will probably get a storage unit for my stuff,” Burgess says. “I have no idea where I’ll go or where I’ll sleep tonight.”\u003c/p>\n\u003cp>Cottam plans on moving in with a friend in the Sunset for a few nights. He says he’s heartbroken about leaving the home he’s worked hard to make safe, but he’s trying to stay positive. “I’m gonna keep going,” Cottam says. I’m gonna find a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Claudia Escobar and Tiffany Camhi.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The High Price of Fake Authenticity: $425 'Muddy' Jeans Inspire Mockery",
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"content": "\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jonathan Demme, Director of 'Silence of The Lambs,' Dies at 73",
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"content": "\u003cp>For more than four decades, Jonathan Demme threaded a diverse path through the film industry — beginning as a publicist, filming everything from documentaries to comedic sendups, and finally earning the status of Oscar-winning elder statesman. He was 73.\u003c/p>\n\u003cp>The director died Wednesday in Manhattan from complications of esophageal cancer, his publicist, 42 West, confirmed the death to NPR.\u003c/p>\n\u003cp>Demme made films such as \u003cem>The Silence of the Lambs\u003c/em> and \u003cem>Stop Making Sense \u003c/em>that have helped define their respective genres.\u003c/p>\n\u003cp>Yet despite these accomplishments — which also include the film Philadelphia — Demme never set out to become a director. Far from it, in fact: He wanted to be a veterinarian. But, \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=16324665\" target=\"_blank\" rel=\"noopener\">as he told NPR in 2007\u003c/a>, that goal ran into trouble when he flunked out of college chemistry pretty much immediately.\u003c/p>\n\u003cp>After a semester of writing movie review for his campus newspaper, he left college for a publicity job with B-movie master Roger Corman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I met Roger Corman, who said, ‘Well, you can write press releases? I’m starting a new company. I need movies. Can you write a screenplay?’ ” Demme recalled.\u003c/p>\n\u003cp>“I was about 25 years old at the time and I said, I would love to try that. I had had no aspirations to be a filmmaker or a writer. Until then, I was thrilled to be working in the movie business as a publicist. I would have been perfectly happy to do that forever.”\u003c/p>\n\u003cp>But Corman loved his screenplays and eventually recommended that Demme get behind the camera, too. As a director getting his start in the early 1970s, Demme infused his first films Corman’s over-the-top sensibilities, but as he set out on his own later in the decade, he began to find a more distinctive eye — hewing closer to intimate character study.\u003c/p>\n\u003cp>In the 1980s Demme dabbled in a variety of forms, making a mark in documentary filmmaking — particularly with \u003cem>Stop Making Sense\u003c/em>, a seminal 1984 concert film for the Talking Heads — and in comedy with films like \u003cem>Something Wild \u003c/em>and the gangster spoof \u003cem>Married to the Mob\u003c/em>.\u003c/p>\n\u003cp>“I’ve always followed my enthusiasm,” Demme said of the variety in his career. “Whether the pictures have turned out good or not is one thing — but I’ve always had a lot of enthusiasm for the project at hand.”\u003c/p>\n\u003cp>It was a pair of prestige dramas that brought Demme his greatest recognition — starting with \u003cem>The Silence of the Lambs\u003c/em>, a horror film that \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1992\" target=\"_blank\" rel=\"noopener\">swept the 1992 Academy Awards \u003c/a>and earned Demme the Oscars for best director and best picture.\u003c/p>\n\u003cp>The movie was also a hit at the box office, which, as Demme \u003ca href=\"http://www.rollingstone.com/movies/features/the-rolling-stone-interview-jonathan-demme-19940324\" target=\"_blank\" rel=\"noopener\">told Rolling Stone in 1994\u003c/a>, came as a significant relief.\u003c/p>\n\u003cp>“At certain points, I was afraid there was something — a missing chink of skill — that was going to prevent me from having a movie that was financially successful. That frightened me,” Demme said at the time. “So when \u003cem>Silence of the Lambs\u003c/em> became an unqualified success, I took a huge sigh of relief. I mean, I can’t tell you how wonderful that felt.”\u003c/p>\n\u003cp>He followed up that film’s success with \u003cem>Philadelphia\u003c/em>, which starred Tom Hanks as a gay lawyer suffering from AIDS and fighting for his legal rights. The drama also earned a raft of Academy Award nominations, including a best actor win for Hanks.\u003c/p>\n\u003cp>Still, as Demme told NPR in 2007, there was one form that continued to draw him back to the camera: documentaries. He said it was the form’s endless capacity to surprise that best characterized what he loved about film in general.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The excitement of waiting into quote-unquote ‘reality’ and just finding out what happens — and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging — is a great, great thrill.” \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=Jonathan+Demme%2C+Director+Of+%27Silence+Of+The+Lambs%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than four decades, Jonathan Demme threaded a diverse path through the film industry — beginning as a publicist, filming everything from documentaries to comedic sendups, and finally earning the status of Oscar-winning elder statesman. He was 73.\u003c/p>\n\u003cp>The director died Wednesday in Manhattan from complications of esophageal cancer, his publicist, 42 West, confirmed the death to NPR.\u003c/p>\n\u003cp>Demme made films such as \u003cem>The Silence of the Lambs\u003c/em> and \u003cem>Stop Making Sense \u003c/em>that have helped define their respective genres.\u003c/p>\n\u003cp>Yet despite these accomplishments — which also include the film Philadelphia — Demme never set out to become a director. Far from it, in fact: He wanted to be a veterinarian. But, \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=16324665\" target=\"_blank\" rel=\"noopener\">as he told NPR in 2007\u003c/a>, that goal ran into trouble when he flunked out of college chemistry pretty much immediately.\u003c/p>\n\u003cp>After a semester of writing movie review for his campus newspaper, he left college for a publicity job with B-movie master Roger Corman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I met Roger Corman, who said, ‘Well, you can write press releases? I’m starting a new company. I need movies. Can you write a screenplay?’ ” Demme recalled.\u003c/p>\n\u003cp>“I was about 25 years old at the time and I said, I would love to try that. I had had no aspirations to be a filmmaker or a writer. Until then, I was thrilled to be working in the movie business as a publicist. I would have been perfectly happy to do that forever.”\u003c/p>\n\u003cp>But Corman loved his screenplays and eventually recommended that Demme get behind the camera, too. As a director getting his start in the early 1970s, Demme infused his first films Corman’s over-the-top sensibilities, but as he set out on his own later in the decade, he began to find a more distinctive eye — hewing closer to intimate character study.\u003c/p>\n\u003cp>In the 1980s Demme dabbled in a variety of forms, making a mark in documentary filmmaking — particularly with \u003cem>Stop Making Sense\u003c/em>, a seminal 1984 concert film for the Talking Heads — and in comedy with films like \u003cem>Something Wild \u003c/em>and the gangster spoof \u003cem>Married to the Mob\u003c/em>.\u003c/p>\n\u003cp>“I’ve always followed my enthusiasm,” Demme said of the variety in his career. “Whether the pictures have turned out good or not is one thing — but I’ve always had a lot of enthusiasm for the project at hand.”\u003c/p>\n\u003cp>It was a pair of prestige dramas that brought Demme his greatest recognition — starting with \u003cem>The Silence of the Lambs\u003c/em>, a horror film that \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1992\" target=\"_blank\" rel=\"noopener\">swept the 1992 Academy Awards \u003c/a>and earned Demme the Oscars for best director and best picture.\u003c/p>\n\u003cp>The movie was also a hit at the box office, which, as Demme \u003ca href=\"http://www.rollingstone.com/movies/features/the-rolling-stone-interview-jonathan-demme-19940324\" target=\"_blank\" rel=\"noopener\">told Rolling Stone in 1994\u003c/a>, came as a significant relief.\u003c/p>\n\u003cp>“At certain points, I was afraid there was something — a missing chink of skill — that was going to prevent me from having a movie that was financially successful. That frightened me,” Demme said at the time. “So when \u003cem>Silence of the Lambs\u003c/em> became an unqualified success, I took a huge sigh of relief. I mean, I can’t tell you how wonderful that felt.”\u003c/p>\n\u003cp>He followed up that film’s success with \u003cem>Philadelphia\u003c/em>, which starred Tom Hanks as a gay lawyer suffering from AIDS and fighting for his legal rights. The drama also earned a raft of Academy Award nominations, including a best actor win for Hanks.\u003c/p>\n\u003cp>Still, as Demme told NPR in 2007, there was one form that continued to draw him back to the camera: documentaries. He said it was the form’s endless capacity to surprise that best characterized what he loved about film in general.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The excitement of waiting into quote-unquote ‘reality’ and just finding out what happens — and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging — is a great, great thrill.” \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=Jonathan+Demme%2C+Director+Of+%27Silence+Of+The+Lambs%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Twitter Shuts Down Writer-Turned-Militia Fighter's Account",
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"headTitle": "Twitter Shuts Down Writer-Turned-Militia Fighter’s Account | KQED",
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"content": "\u003cp>Without warning, Twitter recently shut down the account of Brace Belden, a local writer and punk singer who made headlines after he went to Syria to fight ISIS with a Kurdish Militia.\u003c/p>\n\u003cfigure id=\"attachment_13110040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg\" alt=\"Belden playing in his former band Wild Thing\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13110040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belden playing in his former band Wild Thing \u003ccite>(Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Social media served as Belden’s lifeline to the west during his six-month stint battling the Islamic State, and because of his crass-yet-witty take on the chaos he faced, his Twitter account @PissPigGranddad* garnered global attention. Stories about his tour of duty ran in \u003ca href=\"http://www.rollingstone.com/politics/features/american-anarchists-ypg-kurdish-militia-syria-isis-islamic-state-w466069\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the \u003ca href=\"https://www.washingtonpost.com/world/middle_east/how-two-us-marxists-wound-up-on-the-front-lines-against-isis/2017/03/30/3c722344-c79e-11e6-acda-59924caa2450_story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Washington Post\u003c/em>\u003c/a>, \u003ca href=\"http://nymag.com/daily/intelligencer/2017/04/brace-belden-pisspiggranddad-syria-isis.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Magazine\u003c/em>\u003c/a> and others, and there was even talk of a \u003ca href=\"http://www.spin.com/2017/03/rolling-stone-article-about-american-radicals-fighting-isis-to-become-jake-gyllenhaal-movie/\" target=\"_blank\" rel=\"noopener\">movie being made\u003c/a> about his experiences.\u003c/p>\n\u003cp>But early last week, Belden logged on to Twitter and found that his \u003ca href=\"https://twitter.com/account/suspended\" target=\"_blank\" rel=\"noopener\">account was suspended\u003c/a>. \u003c/p>\n\u003cp>“I don’t know if it’s suspended or deleted,” Belden said Monday. “I either got suspended by horny racists or (Turkish Prime Minister Recep Tayyip) Erdoğan’s dogs.” \u003c/p>\n\u003cp>Before leaving for Syria last fall, Belden managed a local boxing gym and freelanced for publications like \u003cem>Willamette Week\u003c/em> and \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/400-issues-life-at-maximum-rocknroll-after-tim-yohannan/\" target=\"_blank\" rel=\"noopener\">\u003cem>Maximum Rocknroll\u003c/em>\u003c/a>. He also was a member in the bands Wild Thing and Warkrime. A dedicated Marxist, he signed up to help the Kurdish militia People’s Protection Units (YPG) establish secular democracy in the war-torn country, despite having no military experience. He also brought his phone with him so he could stay in contact with the western world.\u003c/p>\n\u003cfigure id=\"attachment_13109592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg\" alt=\"A meme featuring Belden\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13109592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meme featuring Belden \u003ccite>(via Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The attention that came from his tweets, which consisted of politically-themed one-liners and pictures of him holding homeless puppies or machine guns, was both positive and negative. The news coverage brought attention to the militias fighting in Syria; Belden, who saw his follower count jump to over 30,000 during that time, became a left-wing hero of sorts. He was a featured guest on the popular \u003ca href=\"http://www.newyorker.com/culture/persons-of-interest/what-will-become-of-the-dirtbag-left\" target=\"_blank\" rel=\"noopener\">“Dirtbag Left” podcast\u003c/a> \u003ci>Chapo Trap House\u003c/i>, and a group at Glasgow University started a campaign to have Belden elected to their school’s \u003ca href=\"https://twitter.com/Belden4Rector\" target=\"_blank\" rel=\"noopener\">honorary rector position\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But he’s also received a lot of ire from the alt-right on Twitter. (The tweet below came after Belden participated in the protests against the Trump rally in Berkeley on April 15.)\u003c/p>\n\u003cp>https://twitter.com/breddy_gud/status/853397645527834625 \u003c/p>\n\u003cp>One week after his account was shut down, it’s still unclear why. There’s a small group of followers demanding Twitter \u003ca href=\"https://twitter.com/search?src=typd&q=%40PissPigGranddad\" target=\"_blank\" rel=\"noopener\">reinstate his account\u003c/a>, but nothing has come of it yet. But he’s also made a few enemies, \u003ca href=\"https://twitter.com/DangunsProgeny/status/848594602311503872\" target=\"_blank\" rel=\"noopener\">even on the left\u003c/a>. Also, other notable Twitter users known for polemics have been suspended recently, like former \u003cem>Million Dollar Extreme\u003c/em> host Sam Hyde’s (@Night_0f_Fire).\u003c/p>\n\u003cp>Still, Belden wants answers, and much more.\u003c/p>\n\u003cp>“In regards to Twitter, I demand that my account be reinstated and for Twitter to give me a ride in Gravedigger,” Belden wrote in a Facebook message. “Gravedigger is the monster truck.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>*The Twitter handle, Belden says, comes from something he saw at the Folsom Street Fair.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Local writer and singer Brace Belden drew national headlines for his Twitter feed, which was suddenly shut down last week.",
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"title": "Twitter Shuts Down Writer-Turned-Militia Fighter's Account | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without warning, Twitter recently shut down the account of Brace Belden, a local writer and punk singer who made headlines after he went to Syria to fight ISIS with a Kurdish Militia.\u003c/p>\n\u003cfigure id=\"attachment_13110040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg\" alt=\"Belden playing in his former band Wild Thing\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13110040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belden playing in his former band Wild Thing \u003ccite>(Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Social media served as Belden’s lifeline to the west during his six-month stint battling the Islamic State, and because of his crass-yet-witty take on the chaos he faced, his Twitter account @PissPigGranddad* garnered global attention. Stories about his tour of duty ran in \u003ca href=\"http://www.rollingstone.com/politics/features/american-anarchists-ypg-kurdish-militia-syria-isis-islamic-state-w466069\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the \u003ca href=\"https://www.washingtonpost.com/world/middle_east/how-two-us-marxists-wound-up-on-the-front-lines-against-isis/2017/03/30/3c722344-c79e-11e6-acda-59924caa2450_story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Washington Post\u003c/em>\u003c/a>, \u003ca href=\"http://nymag.com/daily/intelligencer/2017/04/brace-belden-pisspiggranddad-syria-isis.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Magazine\u003c/em>\u003c/a> and others, and there was even talk of a \u003ca href=\"http://www.spin.com/2017/03/rolling-stone-article-about-american-radicals-fighting-isis-to-become-jake-gyllenhaal-movie/\" target=\"_blank\" rel=\"noopener\">movie being made\u003c/a> about his experiences.\u003c/p>\n\u003cp>But early last week, Belden logged on to Twitter and found that his \u003ca href=\"https://twitter.com/account/suspended\" target=\"_blank\" rel=\"noopener\">account was suspended\u003c/a>. \u003c/p>\n\u003cp>“I don’t know if it’s suspended or deleted,” Belden said Monday. “I either got suspended by horny racists or (Turkish Prime Minister Recep Tayyip) Erdoğan’s dogs.” \u003c/p>\n\u003cp>Before leaving for Syria last fall, Belden managed a local boxing gym and freelanced for publications like \u003cem>Willamette Week\u003c/em> and \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/400-issues-life-at-maximum-rocknroll-after-tim-yohannan/\" target=\"_blank\" rel=\"noopener\">\u003cem>Maximum Rocknroll\u003c/em>\u003c/a>. He also was a member in the bands Wild Thing and Warkrime. A dedicated Marxist, he signed up to help the Kurdish militia People’s Protection Units (YPG) establish secular democracy in the war-torn country, despite having no military experience. He also brought his phone with him so he could stay in contact with the western world.\u003c/p>\n\u003cfigure id=\"attachment_13109592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg\" alt=\"A meme featuring Belden\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13109592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meme featuring Belden \u003ccite>(via Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The attention that came from his tweets, which consisted of politically-themed one-liners and pictures of him holding homeless puppies or machine guns, was both positive and negative. The news coverage brought attention to the militias fighting in Syria; Belden, who saw his follower count jump to over 30,000 during that time, became a left-wing hero of sorts. He was a featured guest on the popular \u003ca href=\"http://www.newyorker.com/culture/persons-of-interest/what-will-become-of-the-dirtbag-left\" target=\"_blank\" rel=\"noopener\">“Dirtbag Left” podcast\u003c/a> \u003ci>Chapo Trap House\u003c/i>, and a group at Glasgow University started a campaign to have Belden elected to their school’s \u003ca href=\"https://twitter.com/Belden4Rector\" target=\"_blank\" rel=\"noopener\">honorary rector position\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But he’s also received a lot of ire from the alt-right on Twitter. (The tweet below came after Belden participated in the protests against the Trump rally in Berkeley on April 15.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>One week after his account was shut down, it’s still unclear why. There’s a small group of followers demanding Twitter \u003ca href=\"https://twitter.com/search?src=typd&q=%40PissPigGranddad\" target=\"_blank\" rel=\"noopener\">reinstate his account\u003c/a>, but nothing has come of it yet. But he’s also made a few enemies, \u003ca href=\"https://twitter.com/DangunsProgeny/status/848594602311503872\" target=\"_blank\" rel=\"noopener\">even on the left\u003c/a>. Also, other notable Twitter users known for polemics have been suspended recently, like former \u003cem>Million Dollar Extreme\u003c/em> host Sam Hyde’s (@Night_0f_Fire).\u003c/p>\n\u003cp>Still, Belden wants answers, and much more.\u003c/p>\n\u003cp>“In regards to Twitter, I demand that my account be reinstated and for Twitter to give me a ride in Gravedigger,” Belden wrote in a Facebook message. “Gravedigger is the monster truck.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>*The Twitter handle, Belden says, comes from something he saw at the Folsom Street Fair.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most of us who type on a computer know we have a wealth of fonts and typefaces to choose from. There’s the classic Times New Roman and the modern lines of \u003ca href=\"http://www.hustwit.com/category/helvetica/\" target=\"_blank\" rel=\"noopener\">Helvetica,\u003c/a> which was the subject of a documentary a few years ago. Now there’s a colorful new typeface named Gilbert that was inspired by\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/rainbow-flag-designer-gilbert-baker-has-died/\" target=\"_blank\" rel=\"noopener\"> Gilbert Baker,\u003c/a> the San Francisco-based designer of the rainbow flag.\u003c/p>\n\u003cp>Baker died at the end of March at the age of 66, and his passing inspired marketing firm \u003ca href=\"https://en.wikipedia.org/wiki/Ogilvy_%26_Mather\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> to create the font. \u003c/p>\n\u003cp>“We heard the sad news about Gilbert Baker, and we felt compelled to do it,” said \u003ca href=\"http://www.ogilvy.com/\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> Creative Director Chris Rowson by phone from New York City. \u003c/p>\n\u003cp>Ogilvy and Mather has worked for years with NYC Pride and LGBTQ film festival NewFest on a number of pro bono projects, and Rowson said designing a new typeface seemed an important extension of that, giving the LGBTQ community a tool to for creating banners, posters and signs.\u003c/p>\n\u003cfigure id=\"attachment_12983976\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12983976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg\" alt=\"Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66.\" width=\"718\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-520x293.jpg 520w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66 \u003ccite>(Courtesy of Cleve Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a simple gesture,” said Ogilvy Creative Director Rodrigo Moran, who joined Rowson on the phone, “with an amazing meaning behind it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baker lived in San Francisco for many years, and he designed the rainbow flag in the late 1970’s at the request of the city’s first openly gay supervisor, Harvey Milk, as a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>“We really studied the geometry of the flag and gave the colors in the typeface the same proportions, the same weight as the colors in the flag,” Rowan said.\u003c/p>\n\u003cp>Rowson and Moran credited the company \u003ca href=\"https://www.fontself.com/\" target=\"_blank\" rel=\"noopener\">fontself\u003c/a> and Ogilvy designer Robyn Makinson for building the fonts.\u003c/p>\n\u003cp>The rounded, fluid forms of the letters are a tribute to the design styles and colors of the 1970’s, when the \u003ca href=\"https://en.wikipedia.org/wiki/Walkman\" target=\"_blank\" rel=\"noopener\">Sony Walkman\u003c/a> was popular and Baker created the Rainbow Flag. \u003c/p>\n\u003cp>“It’s very hard to strike the right balance,” Rowson said. “The design is very friendly, but bold and powerful too.”\u003c/p>\n\u003cp>Anyone can use the typeface, downloadable at www.typewithpride.com. There are no patents or trademark restrictions.\u003c/p>\n\u003cp>And Rowson said this is just the beginning of the project, with other fonts in the same typeface family to come. “This is not a money making project,” Moran said, “this is a way to remember Gilbert Baker.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch a video about the font from Ogilvy & Mather:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/213783128\u003cbr>\n\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us who type on a computer know we have a wealth of fonts and typefaces to choose from. There’s the classic Times New Roman and the modern lines of \u003ca href=\"http://www.hustwit.com/category/helvetica/\" target=\"_blank\" rel=\"noopener\">Helvetica,\u003c/a> which was the subject of a documentary a few years ago. Now there’s a colorful new typeface named Gilbert that was inspired by\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/rainbow-flag-designer-gilbert-baker-has-died/\" target=\"_blank\" rel=\"noopener\"> Gilbert Baker,\u003c/a> the San Francisco-based designer of the rainbow flag.\u003c/p>\n\u003cp>Baker died at the end of March at the age of 66, and his passing inspired marketing firm \u003ca href=\"https://en.wikipedia.org/wiki/Ogilvy_%26_Mather\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> to create the font. \u003c/p>\n\u003cp>“We heard the sad news about Gilbert Baker, and we felt compelled to do it,” said \u003ca href=\"http://www.ogilvy.com/\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> Creative Director Chris Rowson by phone from New York City. \u003c/p>\n\u003cp>Ogilvy and Mather has worked for years with NYC Pride and LGBTQ film festival NewFest on a number of pro bono projects, and Rowson said designing a new typeface seemed an important extension of that, giving the LGBTQ community a tool to for creating banners, posters and signs.\u003c/p>\n\u003cfigure id=\"attachment_12983976\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12983976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg\" alt=\"Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66.\" width=\"718\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-520x293.jpg 520w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66 \u003ccite>(Courtesy of Cleve Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a simple gesture,” said Ogilvy Creative Director Rodrigo Moran, who joined Rowson on the phone, “with an amazing meaning behind it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baker lived in San Francisco for many years, and he designed the rainbow flag in the late 1970’s at the request of the city’s first openly gay supervisor, Harvey Milk, as a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>“We really studied the geometry of the flag and gave the colors in the typeface the same proportions, the same weight as the colors in the flag,” Rowan said.\u003c/p>\n\u003cp>Rowson and Moran credited the company \u003ca href=\"https://www.fontself.com/\" target=\"_blank\" rel=\"noopener\">fontself\u003c/a> and Ogilvy designer Robyn Makinson for building the fonts.\u003c/p>\n\u003cp>The rounded, fluid forms of the letters are a tribute to the design styles and colors of the 1970’s, when the \u003ca href=\"https://en.wikipedia.org/wiki/Walkman\" target=\"_blank\" rel=\"noopener\">Sony Walkman\u003c/a> was popular and Baker created the Rainbow Flag. \u003c/p>\n\u003cp>“It’s very hard to strike the right balance,” Rowson said. “The design is very friendly, but bold and powerful too.”\u003c/p>\n\u003cp>Anyone can use the typeface, downloadable at www.typewithpride.com. There are no patents or trademark restrictions.\u003c/p>\n\u003cp>And Rowson said this is just the beginning of the project, with other fonts in the same typeface family to come. “This is not a money making project,” Moran said, “this is a way to remember Gilbert Baker.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch a video about the font from Ogilvy & Mather:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/213783128\u003cbr>\n\u003c/aside>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Siegel, whose career with NPR has spanned more than four decades, will be stepping down as co-host of NPR’s \u003cem>All Things Considered\u003c/em> next year.\u003c/p>\n\u003cp>One of the most distinctive voices on NPR’s airwaves, Siegel will be leaving the host’s chair in January 2018. He has hosted the show for 30 years.\u003c/p>\n\u003cp>“This is a decision long in the making and not an easy one,” Siegel said. “I’ve had the greatest job I can think of, working with the finest colleagues anyone could ask for, for as long a stretch as I could imagine. But, looking ahead to my 70s (which start all too soon) I feel that it is time for me to begin a new phase of life. Over the next few months, I hope to figure out what that will be.”\u003c/p>\n\u003cp>Siegel started at NPR as a newscaster in 1976. He was a senior editor in NPR’s London bureau and the director of the news and information department before he became host of \u003cem>All Things Considered \u003c/em>in 1987.\u003c/p>\n\u003cp>Siegel “reported from every corner of the country and around the world,” NPR executives \u003ca href=\"http://www.npr.org/sections/npr-extra/2017/04/25/525535979/robert-siegel-and-all-things-considered\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He even reported from Springfield — \u003ca href=\"https://www.youtube.com/watch?v=Q1t8foMAjdc&feature=youtu.be\">on The Simpsons\u003c/a>.\u003c/p>\n\u003cp>“He is the consummate student, a person whose quest for the answers has benefited millions upon millions of listeners over the years,” NPR’s statement says. “He is for all of us, a model of how to be fully engaged in the world, our work, and with his colleagues.”\u003c/p>\n\u003cp>NPR will be conducting a national search for the next host of \u003cem>All Things Considered.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Siegel, the show is co-hosted by Ari Shapiro, Audie Cornish and Kelly McEvers. \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=Robert+Siegel+Stepping+Down+As+%27All+Things+Considered%27+Host+In+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Siegel, whose career with NPR has spanned more than four decades, will be stepping down as co-host of NPR’s \u003cem>All Things Considered\u003c/em> next year.\u003c/p>\n\u003cp>One of the most distinctive voices on NPR’s airwaves, Siegel will be leaving the host’s chair in January 2018. He has hosted the show for 30 years.\u003c/p>\n\u003cp>“This is a decision long in the making and not an easy one,” Siegel said. “I’ve had the greatest job I can think of, working with the finest colleagues anyone could ask for, for as long a stretch as I could imagine. But, looking ahead to my 70s (which start all too soon) I feel that it is time for me to begin a new phase of life. Over the next few months, I hope to figure out what that will be.”\u003c/p>\n\u003cp>Siegel started at NPR as a newscaster in 1976. He was a senior editor in NPR’s London bureau and the director of the news and information department before he became host of \u003cem>All Things Considered \u003c/em>in 1987.\u003c/p>\n\u003cp>Siegel “reported from every corner of the country and around the world,” NPR executives \u003ca href=\"http://www.npr.org/sections/npr-extra/2017/04/25/525535979/robert-siegel-and-all-things-considered\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He even reported from Springfield — \u003ca href=\"https://www.youtube.com/watch?v=Q1t8foMAjdc&feature=youtu.be\">on The Simpsons\u003c/a>.\u003c/p>\n\u003cp>“He is the consummate student, a person whose quest for the answers has benefited millions upon millions of listeners over the years,” NPR’s statement says. “He is for all of us, a model of how to be fully engaged in the world, our work, and with his colleagues.”\u003c/p>\n\u003cp>NPR will be conducting a national search for the next host of \u003cem>All Things Considered.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Siegel, the show is co-hosted by Ari Shapiro, Audie Cornish and Kelly McEvers. \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=Robert+Siegel+Stepping+Down+As+%27All+Things+Considered%27+Host+In+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Café du Nord Reverting Back to Former Identity: A Rock Venue",
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"content": "\u003cp>It’s official: Café du Nord will return to its former glory days as a rock venue, jettisoning its more recent identity as a high-end restaurant and cocktail bar.\u003c/p>\n\u003cp>Local food and football blogger \u003ca href=\"https://www.thrillist.com/authors/daisy-barringer\" target=\"_blank\" rel=\"noopener\">Daisy Barringer\u003c/a> broke the news two weeks ago on Twitter, noting that “the entire staff was let go and replaced.”\u003c/p>\n\u003cp>“It will be a club for live [music]. They knocked out a wall already. They have to keep selling food bc of the way their liquor license works,” Barringer \u003ca href=\"https://twitter.com/daisy/status/852207406113107969\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> on April 12.\u003c/p>\n\u003cp>Café du Nord’s owner, Dylan MacNiven, has since confirmed the changes to websites such as \u003ca href=\"http://hoodline.com/2017/04/cafe-du-nord-on-market-street-to-transition-back-to-full-fledged-music-venue\" target=\"_blank\" rel=\"noopener\">Hoodline\u003c/a> and \u003ca href=\"http://brokeassstuart.com/blog/2017/04/24/cafe-du-nord-to-become-a-music-venue-once-again/\" target=\"_blank\" rel=\"noopener\">Broke Ass Stuart\u003c/a>. MacNiven said that the conversion would be occurring over the next few weeks.\u003c/p>\n\u003cp>“More details will be ready when the full picture is in place,” MacNiven told Hoodline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before becoming a reservation-only dining establishment known for serving one of the \u003ca href=\"http://sfist.com/2016/10/27/the_tk_best_burgers_in_sf_and_oakla.php\" target=\"_blank\" rel=\"noopener\">best hamburgers in San Francisco\u003c/a>, the Café du Nord was a popular mid-size music venue that hosted bands such as Thee Oh Sees, Sic Alps and Frightwig. In 2015, the building came into MacNiven’s possession, and a partnership with Ne Timeas Restaurant Group led to the club’s transformation into Du Nord, the restaurant.\u003c/p>\n\u003cp>After the announcement of Café du Nord conversion, there was uproar in the local music scene over the decision to stop booking loud rock bands there. The new owners promised that there would still be music, but it would be much quieter jazz and blues groups.\u003c/p>\n\u003cp>“If the goal was to go polar opposite and turn nearly everyone off who has lived in San Francisco longer than 2 years, well done Ne Timeas Restaurant Group!,” Annie Southworth, a local music promoter, commented on Facebook after the restaurant’s re-opening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The building that houses the Café du Nord was originally built in 1907. MacNiven also owns the live venue above Café du Nord, the Swedish American Music Hall, which is booked by Noise Pop. It is unclear if Noise Pop will also book the basement rock venue once its renovations are complete.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s official: Café du Nord will return to its former glory days as a rock venue, jettisoning its more recent identity as a high-end restaurant and cocktail bar.\u003c/p>\n\u003cp>Local food and football blogger \u003ca href=\"https://www.thrillist.com/authors/daisy-barringer\" target=\"_blank\" rel=\"noopener\">Daisy Barringer\u003c/a> broke the news two weeks ago on Twitter, noting that “the entire staff was let go and replaced.”\u003c/p>\n\u003cp>“It will be a club for live [music]. They knocked out a wall already. They have to keep selling food bc of the way their liquor license works,” Barringer \u003ca href=\"https://twitter.com/daisy/status/852207406113107969\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> on April 12.\u003c/p>\n\u003cp>Café du Nord’s owner, Dylan MacNiven, has since confirmed the changes to websites such as \u003ca href=\"http://hoodline.com/2017/04/cafe-du-nord-on-market-street-to-transition-back-to-full-fledged-music-venue\" target=\"_blank\" rel=\"noopener\">Hoodline\u003c/a> and \u003ca href=\"http://brokeassstuart.com/blog/2017/04/24/cafe-du-nord-to-become-a-music-venue-once-again/\" target=\"_blank\" rel=\"noopener\">Broke Ass Stuart\u003c/a>. MacNiven said that the conversion would be occurring over the next few weeks.\u003c/p>\n\u003cp>“More details will be ready when the full picture is in place,” MacNiven told Hoodline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before becoming a reservation-only dining establishment known for serving one of the \u003ca href=\"http://sfist.com/2016/10/27/the_tk_best_burgers_in_sf_and_oakla.php\" target=\"_blank\" rel=\"noopener\">best hamburgers in San Francisco\u003c/a>, the Café du Nord was a popular mid-size music venue that hosted bands such as Thee Oh Sees, Sic Alps and Frightwig. In 2015, the building came into MacNiven’s possession, and a partnership with Ne Timeas Restaurant Group led to the club’s transformation into Du Nord, the restaurant.\u003c/p>\n\u003cp>After the announcement of Café du Nord conversion, there was uproar in the local music scene over the decision to stop booking loud rock bands there. The new owners promised that there would still be music, but it would be much quieter jazz and blues groups.\u003c/p>\n\u003cp>“If the goal was to go polar opposite and turn nearly everyone off who has lived in San Francisco longer than 2 years, well done Ne Timeas Restaurant Group!,” Annie Southworth, a local music promoter, commented on Facebook after the restaurant’s re-opening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The building that houses the Café du Nord was originally built in 1907. MacNiven also owns the live venue above Café du Nord, the Swedish American Music Hall, which is booked by Noise Pop. It is unclear if Noise Pop will also book the basement rock venue once its renovations are complete.\u003c/p>\n\n\u003c/div>\u003c/p>",
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