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"content": "\u003cp>Bob Dylan will be accepting his Nobel Prize in literature this weekend, according to the permanent secretary of the Swedish Academy. In a blog post Tuesday, Sara Danius announced the “good news” that members of the academy will be meeting with Dylan when he makes a tour stop in Stockholm.\u003c/p>\n\u003cp>“The Swedish Academy is very much looking forward to the weekend and will show up at one of the performances” Dylan is delivering on Saturday and Sunday, \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/29/good-news-about-dylan/\" target=\"_blank\" rel=\"noopener\">Danius writes\u003c/a>. “The Academy will then hand over Dylan’s Nobel diploma and the Nobel medal, and congratulate him on the Nobel Prize in Literature.”\u003c/p>\n\u003cp>She adds: “The setting will be small and intimate, and no media will be present; only Bob Dylan and members of the Academy will attend, all according to Dylan’s wishes.”\u003c/p>\n\u003cp>In \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/27/dylans-konserter/\" target=\"_blank\" rel=\"noopener\">a previous post\u003c/a>, Danius was careful to note that the tour date in Stockholm had been planned well before Dylan won the prize, which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/13/497780610/bob-dylan-titan-of-american-music-wins-the-2016-nobel-prize-in-literature\" target=\"_blank\" rel=\"noopener\">he was awarded\u003c/a> in October “for having created new poetic expressions within the great American song tradition,” according to the Swedish Academy’s citation.\u003c/p>\n\u003cp>“He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius said at the time, explaining the decision to award a musician a prize that for more than a century has principally been doled out to novelists, poets and essayists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet the unusual decision was just the first installment of what came to be an unusual saga — as Dylan first \u003ca href=\"http://www.npr.org/2016/10/24/499121073/world-waits-for-bob-dylan-to-acknowledge-his-nobel\">waited more than two weeks\u003c/a> to acknowledge the award, then \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/16/502312155/bob-dylan-wont-be-picking-up-his-nobel-prize-in-person\">begged off\u003c/a> attending the December ceremony where it was to be doled out. Dylan sent a personal letter to the academy saying he could not make it to Stockholm then due to “pre-existing commitments.”\u003c/p>\n\u003cp>Instead, Patti Smith spelled Dylan for \u003ca href=\"https://youtu.be/DVXQaOhpfJU\">a moving rendition\u003c/a> of his classic, “A Hard Rain’s Gonna Fall.”\u003c/p>\n\u003cp>It remains unclear whether this weekend’s meeting portends warmer embrace of the prize from Dylan, who has yet to fulfill his one requirement to receive the roughly $900,000 that comes with it: delivery of the Nobel lecture, a traditional talk on a topic of the laureate’s choosing.\u003c/p>\n\u003cp>That requirement, set by the rules of the Nobel Foundation, must be satisfied by June 10 for Dylan to pick up the prize money.\u003c/p>\n\u003cp>“Please note that no Nobel Lecture will be held. The Academy has reason to believe that a taped version will be sent at a later point,” Danius says in her post, noting that if he sends a taped lecture, he will not be the first.\u003c/p>\n\u003cp>Alice Munro, the 2013 laureate, had to send a taped lecture because of health woes, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/10/21/238967288/book-news-health-woes-will-keep-munro-from-nobel-ceremony\" target=\"_blank\" rel=\"noopener\">as we reported then\u003c/a>.\u003c/p>\n\u003cp>Dylan did, however, write an acceptance speech for the December ceremony \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/dylan-speech.html\" target=\"_blank\" rel=\"noopener\">that was delivered\u003c/a> by the U.S. ambassador to Sweden, Azita Raji.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone had ever told me that I had the slightest chance of winning the Nobel prize,” Dylan wrote, “I would have to think that I’d have about the same odds as standing on the moon.” \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=Bob+Dylan+Agrees+To+Accept+His+Nobel+Prize+During+A+Tour+Stop+In+Stockholm&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet the unusual decision was just the first installment of what came to be an unusual saga — as Dylan first \u003ca href=\"http://www.npr.org/2016/10/24/499121073/world-waits-for-bob-dylan-to-acknowledge-his-nobel\">waited more than two weeks\u003c/a> to acknowledge the award, then \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/16/502312155/bob-dylan-wont-be-picking-up-his-nobel-prize-in-person\">begged off\u003c/a> attending the December ceremony where it was to be doled out. Dylan sent a personal letter to the academy saying he could not make it to Stockholm then due to “pre-existing commitments.”\u003c/p>\n\u003cp>Instead, Patti Smith spelled Dylan for \u003ca href=\"https://youtu.be/DVXQaOhpfJU\">a moving rendition\u003c/a> of his classic, “A Hard Rain’s Gonna Fall.”\u003c/p>\n\u003cp>It remains unclear whether this weekend’s meeting portends warmer embrace of the prize from Dylan, who has yet to fulfill his one requirement to receive the roughly $900,000 that comes with it: delivery of the Nobel lecture, a traditional talk on a topic of the laureate’s choosing.\u003c/p>\n\u003cp>That requirement, set by the rules of the Nobel Foundation, must be satisfied by June 10 for Dylan to pick up the prize money.\u003c/p>\n\u003cp>“Please note that no Nobel Lecture will be held. The Academy has reason to believe that a taped version will be sent at a later point,” Danius says in her post, noting that if he sends a taped lecture, he will not be the first.\u003c/p>\n\u003cp>Alice Munro, the 2013 laureate, had to send a taped lecture because of health woes, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/10/21/238967288/book-news-health-woes-will-keep-munro-from-nobel-ceremony\" target=\"_blank\" rel=\"noopener\">as we reported then\u003c/a>.\u003c/p>\n\u003cp>Dylan did, however, write an acceptance speech for the December ceremony \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/dylan-speech.html\" target=\"_blank\" rel=\"noopener\">that was delivered\u003c/a> by the U.S. ambassador to Sweden, Azita Raji.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone had ever told me that I had the slightest chance of winning the Nobel prize,” Dylan wrote, “I would have to think that I’d have about the same odds as standing on the moon.” \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=Bob+Dylan+Agrees+To+Accept+His+Nobel+Prize+During+A+Tour+Stop+In+Stockholm&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cal Arts Groups Lobby to Keep Increases to State Funding",
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"content": "\u003cp>California arts advocates are fighting battles on many fronts these days. As cuts loom over \u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/in-california-the-beginning-of-the-battle-to-save-arts-funding/\" target=\"_blank\" rel=\"noopener\">federal arts funding\u003c/a>, local organizations are lobbying state lawmakers to maintain the same level of support for the arts in the new state budget as the previous year\u003c/p>\n\u003cp>The California Arts Council hobbled along on just $1 million a year for more than a decade in the early 2000s, but last year state lawmakers approved more than $17 million for the \u003ca href=\"http://arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, including a one-time bump of $6.8 million. \u003c/p>\n\u003cp>This January, Gov. Jerry Brown’s budget proposal was missing that extra money.\u003c/p>\n\u003cp>“We were disappointed but not surprised,” said \u003ca href=\"https://californiaartsadvocates.org/\" target=\"_blank\" rel=\"noopener\">California Arts Advocates\u003c/a> President Richard Stein, who’s also president and CEO of Arts Orange County.\u003c/p>\n\u003cp>“Because Gov. Brown’s approach to budgeting is very prudent,” he said. “And he generally would like to see the legislature take the lead on funding for the Arts Council.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stein and his Arts Advocates colleagues delivered their plea Tuesday in the form of a letter to Assemblymen \u003ca href=\"http://abgt.assembly.ca.gov/sub4stateadministration\" target=\"_blank\" rel=\"noopener\">Jim Cooper, D-Elk Grove\u003c/a>; and \u003ca href=\"http://sd31.senate.ca.gov/\" target=\"_blank\" rel=\"noopener\">state Sen. Richard Roth\u003c/a>, D-Riverside. Each chairs a budget subcommittee overseeing the California Arts Council.\u003c/p>\n\u003cp>“Even at last year’s funding level,” said California Arts Advocates Board Member Brad Erickson, “we’re still way behind. We’re at 40th per capita investment in the arts among all the other states.”\u003c/p>\n\u003cp>Erickson and Stein’s letter notes how important state funding may be if President Donald Trump gets his way and cuts all federal arts funding for next year. The budget cuts would mean a loss around $10 million to California alone.\u003c/p>\n\u003cfigure id=\"attachment_12969687\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12969687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588.jpeg\" alt=\"Assemblyman Jim Cooper, D-Elk Grove\" width=\"457\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588.jpeg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588-375x211.jpeg 375w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Assemblyman Jim Cooper, D-Elk Grove \u003ccite>(Photo: Courtesy of Assemblyman Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper issued a statement late Tuesday saying he and his Democratic colleagues voted to add back $4.5 million dollars in arts funding, about two-thirds of what the governor cut.\u003c/p>\n\u003cp>“I believe it is more important than ever to support the arts,” Cooper wrote, “and look forward to continue fighting for additional funding and urge my colleagues in the Senate to do the same.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokesman for Sen. Roth noted there’s a lot of “uncertainty” in the budget, not just about arts funding. President Trump has threatened to cut off other subsidies if state legislators pass a law blocking local law enforcement from working with federal immigration authorities. That could leave the state budget short by billions of dollars, pushing state arts funding near the bottom of a long list of priorities.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California arts advocates are fighting battles on many fronts these days. As cuts loom over \u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/in-california-the-beginning-of-the-battle-to-save-arts-funding/\" target=\"_blank\" rel=\"noopener\">federal arts funding\u003c/a>, local organizations are lobbying state lawmakers to maintain the same level of support for the arts in the new state budget as the previous year\u003c/p>\n\u003cp>The California Arts Council hobbled along on just $1 million a year for more than a decade in the early 2000s, but last year state lawmakers approved more than $17 million for the \u003ca href=\"http://arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, including a one-time bump of $6.8 million. \u003c/p>\n\u003cp>This January, Gov. Jerry Brown’s budget proposal was missing that extra money.\u003c/p>\n\u003cp>“We were disappointed but not surprised,” said \u003ca href=\"https://californiaartsadvocates.org/\" target=\"_blank\" rel=\"noopener\">California Arts Advocates\u003c/a> President Richard Stein, who’s also president and CEO of Arts Orange County.\u003c/p>\n\u003cp>“Because Gov. Brown’s approach to budgeting is very prudent,” he said. “And he generally would like to see the legislature take the lead on funding for the Arts Council.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stein and his Arts Advocates colleagues delivered their plea Tuesday in the form of a letter to Assemblymen \u003ca href=\"http://abgt.assembly.ca.gov/sub4stateadministration\" target=\"_blank\" rel=\"noopener\">Jim Cooper, D-Elk Grove\u003c/a>; and \u003ca href=\"http://sd31.senate.ca.gov/\" target=\"_blank\" rel=\"noopener\">state Sen. Richard Roth\u003c/a>, D-Riverside. Each chairs a budget subcommittee overseeing the California Arts Council.\u003c/p>\n\u003cp>“Even at last year’s funding level,” said California Arts Advocates Board Member Brad Erickson, “we’re still way behind. We’re at 40th per capita investment in the arts among all the other states.”\u003c/p>\n\u003cp>Erickson and Stein’s letter notes how important state funding may be if President Donald Trump gets his way and cuts all federal arts funding for next year. The budget cuts would mean a loss around $10 million to California alone.\u003c/p>\n\u003cfigure id=\"attachment_12969687\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12969687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588.jpeg\" alt=\"Assemblyman Jim Cooper, D-Elk Grove\" width=\"457\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588.jpeg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Assemblyman-Jim-Cooper-D-Elk-Grove-e1490755443588-375x211.jpeg 375w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Assemblyman Jim Cooper, D-Elk Grove \u003ccite>(Photo: Courtesy of Assemblyman Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper issued a statement late Tuesday saying he and his Democratic colleagues voted to add back $4.5 million dollars in arts funding, about two-thirds of what the governor cut.\u003c/p>\n\u003cp>“I believe it is more important than ever to support the arts,” Cooper wrote, “and look forward to continue fighting for additional funding and urge my colleagues in the Senate to do the same.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokesman for Sen. Roth noted there’s a lot of “uncertainty” in the budget, not just about arts funding. President Trump has threatened to cut off other subsidies if state legislators pass a law blocking local law enforcement from working with federal immigration authorities. That could leave the state budget short by billions of dollars, pushing state arts funding near the bottom of a long list of priorities.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "trumps-lawyers-apprentice-contestant-cant-sue-president",
"title": "Trump's Lawyers: 'Apprentice' Contestant Can't Sue President",
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"content": "\u003cp>Republican President Donald Trump’s lawyers say he’s immune while president from defamation claims brought by a former contestant on his reality TV show \u003cem>The Apprentice\u003c/em> who accused him of unwanted sexual contact.\u003c/p>\n\u003cp>The lawyers said in a state Supreme Court filing Monday they’ll formally ask for a dismissal or a suspension of the January claims by Summer Zervos until he leaves office. They said the Constitution immunizes Trump from being sued in state court while he’s president.\u003c/p>\n\u003cp>The lawyers said their position is supported by a long line of U.S. Supreme Court cases requiring courts to show deference to the president and his schedule.\u003c/p>\n\u003cp>Zervos was a contestant on Trump’s reality show in 2006. She sued after Trump dismissed as “fabricated and made-up charges” her claims at a news conference that he made unwanted sexual contact with her at a Beverly Hills hotel in 2007.\u003c/p>\n\u003cp>The lawsuit sought an apology and $2,914.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump’s lawyers said in Monday’s filing that the president denies “these unfounded accusations” and was prepared to show that they were “false, legally insufficient and made in a transparent politically-motivated attack.” They said the allegations have been disputed even by a member of Zervos’ family.\u003c/p>\n\u003cp>Zervos was among several women who made sexual allegations against Trump when he was the Republican nominee during the presidential race last year. Trump has strenuously denied their allegations.\u003c/p>\n\u003cp>After appearing on Trump’s show, Zervos said she later asked him for a job. She said they met and he kissed her on the lips and asked for her phone number. She said at a later meeting at a California hotel he became sexually aggressive, kissing her and touching her breasts.\u003c/p>\n\u003cp>During the presidential campaign, a tape of Trump talking about fame enabling him to grope and try to have sex with women emerged. On the 2005 “Access Hollywood” tape, Trump says when he’s attracted to beautiful women “I just start kissing them. It’s like a magnet.” He says when you’re a star, women let you.\u003c/p>\n\u003cp>“Grab them by the p—-,” Trump adds. “You can do anything.”\u003c/p>\n\u003cp>Trump later said in a presidential debate that he never did any of the actions heard on the tape, which he described as locker room talk.\u003c/p>\n\u003cp>Trump’s wife, Melania Trump, blamed \u003cem>Access Hollywood\u003c/em> host Billy Bush for what Trump said. She said they were involved in “boy talk, and he was led on, like egged on, from the host to say dirty and bad stuff.”\u003c/p>\n\u003cp>A Zervos attorney, Gloria Allred, said she doesn’t believe the president of the United States enjoys legal immunity from a defamation lawsuit. She said the Supreme Court addressed the legal immunity issue in a case involving Democratic President Bill Clinton and “determined unanimously that no man is above the law, and that includes the president of the United States.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We look forward,” she said, “to arguing this issue in court.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Republican President Donald Trump’s lawyers say he’s immune while president from defamation claims brought by a former contestant on his reality TV show \u003cem>The Apprentice\u003c/em> who accused him of unwanted sexual contact.\u003c/p>\n\u003cp>The lawyers said in a state Supreme Court filing Monday they’ll formally ask for a dismissal or a suspension of the January claims by Summer Zervos until he leaves office. They said the Constitution immunizes Trump from being sued in state court while he’s president.\u003c/p>\n\u003cp>The lawyers said their position is supported by a long line of U.S. Supreme Court cases requiring courts to show deference to the president and his schedule.\u003c/p>\n\u003cp>Zervos was a contestant on Trump’s reality show in 2006. She sued after Trump dismissed as “fabricated and made-up charges” her claims at a news conference that he made unwanted sexual contact with her at a Beverly Hills hotel in 2007.\u003c/p>\n\u003cp>The lawsuit sought an apology and $2,914.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trump’s lawyers said in Monday’s filing that the president denies “these unfounded accusations” and was prepared to show that they were “false, legally insufficient and made in a transparent politically-motivated attack.” They said the allegations have been disputed even by a member of Zervos’ family.\u003c/p>\n\u003cp>Zervos was among several women who made sexual allegations against Trump when he was the Republican nominee during the presidential race last year. Trump has strenuously denied their allegations.\u003c/p>\n\u003cp>After appearing on Trump’s show, Zervos said she later asked him for a job. She said they met and he kissed her on the lips and asked for her phone number. She said at a later meeting at a California hotel he became sexually aggressive, kissing her and touching her breasts.\u003c/p>\n\u003cp>During the presidential campaign, a tape of Trump talking about fame enabling him to grope and try to have sex with women emerged. On the 2005 “Access Hollywood” tape, Trump says when he’s attracted to beautiful women “I just start kissing them. It’s like a magnet.” He says when you’re a star, women let you.\u003c/p>\n\u003cp>“Grab them by the p—-,” Trump adds. “You can do anything.”\u003c/p>\n\u003cp>Trump later said in a presidential debate that he never did any of the actions heard on the tape, which he described as locker room talk.\u003c/p>\n\u003cp>Trump’s wife, Melania Trump, blamed \u003cem>Access Hollywood\u003c/em> host Billy Bush for what Trump said. She said they were involved in “boy talk, and he was led on, like egged on, from the host to say dirty and bad stuff.”\u003c/p>\n\u003cp>A Zervos attorney, Gloria Allred, said she doesn’t believe the president of the United States enjoys legal immunity from a defamation lawsuit. She said the Supreme Court addressed the legal immunity issue in a case involving Democratic President Bill Clinton and “determined unanimously that no man is above the law, and that includes the president of the United States.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We look forward,” she said, “to arguing this issue in court.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "David Hockney Captures Yosemite with iPad Art",
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"content": "\u003cp>David Hockney has been the subject of more than 400 solo exhibitions over his long career. The British-born artist is such a rock star, \u003cem>The Guardian\u003c/em> reports \u003ca class=\"u-underline\" href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">Tate Britain\u003c/a> will be \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/24/tate-britain-to-open-till-midnight-to-cope-with-hockney-show-demand\" target=\"_blank\" rel=\"noopener\">opening its doors until midnight\u003c/a> for the first time to cope with demand for its current major retrospective of Hockney’s work.\u003c/p>\n\u003cp>At a point in his life when major world museums are presenting big Hockney shows, the artist could easily retire. But\u003cem> \u003c/em>an exhibition of 28 images he created of Yosemite National Park, \u003cem>Yosemite Suite,\u003c/em> shows how Hockney continues to reassess familiar territory in new ways. After being shown in London, New York and Venice, CA, \u003cem>Yosemite Suite\u003c/em> has arrived in the Bay Area. The works are on view at the \u003ca href=\"http://www.pacegallery.com/exhibitions/12858/the-yosemite-suite\" target=\"_blank\" rel=\"noopener\">Pace Gallery in Palo Alto\u003c/a> through May 7.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/315264550″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The Los Angeles-based visual artist visited Yosemite in 2010 and 2011. Instead of an easel or medium-format camera, he brought his iPad along. The digital drawings he created using the software Brushes have been reproduced as large prints for display, four of them stretching to nearly eight feet in height.\u003c/p>\n\u003cp>Some of the resulting images have been tucked into bigger shows, like \u003ca href=\"http://deyoung.famsf.org/archive/hockney/hockney-about.html\" target=\"_blank\" rel=\"noopener\">\u003cem>David Hockney: A Bigger Exhibition\u003c/em>\u003c/a> at San Francisco’s de Young Museum in 2013. But seeing all 28 images assembled together in a dedicated exhibition immerses the visitor into Hockney’s vision of Yosemite. It’s a vision that is at once sunny and riotously colorful.\u003c/p>\n\u003cfigure id=\"attachment_12938826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12938826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-800x1085.jpg\" alt='\"Untitled No. 21\" from The Yosemite Suite, 2010, by David Hockney.' width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-1920x2605.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-520x706.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY.jpg 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled No. 21” from The Yosemite Suite, 2010, by David Hockney. \u003ccite>(Photo: Courtesy of David Hockney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trees rise up like the columns of an open, sunlit Gothic cathedral. You feel like you could face-plant into the fluffy, flower-covered mountainsides.\u003c/p>\n\u003ch3>Hockney’s digital space\u003c/h3>\n\u003cp>Over the course of his long career, Hockney has embraced all sorts of technologies, from Polaroid photographs to fax machines. Yet his work always remains rooted in painting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The technology is not the end in itself, but rather, a tool,” says Douglas Baxter, president of Pace Gallery in New York, and Hockney’s longtime friend. With \u003cem>Yosemite Suite\u003c/em>, Baxter says, Hockney responds to the park with an Impressionist’s eye and then “translates it to the iPad.”\u003c/p>\n\u003cp>Not for Hockney the sedate earth tones of artists past. \u003ca href=\"https://www.scu.edu/art/faculty-and-staff/ryan-reynolds/\" target=\"_blank\" rel=\"noopener\">Ryan Reynolds\u003c/a>, an assistant professor of art at Santa Clara University, says the artist translates the language of the landscape into his own patois of color, line and texture. “He takes what could be seen as these postcard views, and turns them into something that you want to contemplate and think about,” Reynolds says.\u003c/p>\n\u003cfigure id=\"attachment_12963302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12963302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-800x1060.jpg\" alt='\"Untitled No. 3\" from The Yosemite Suite, 2010, by David Hockney. ' width=\"800\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-800x1060.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-1020x1351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-1920x2543.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-1180x1563.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-960x1272.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-240x318.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-375x497.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-520x689.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut.jpg 1546w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled No. 3” from The Yosemite Suite, 2010, by David Hockney. \u003ccite>(Photo: Courtesy of David Hockney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For instance, Reynolds says that Hockney is a master of texture, regardless of whether the work is produced with paint and brushes or a finger on a screen. “Dots, lines, scribbles, are used to mimic texture,” Reynolds says. “He’s studied artists like Matisse and Picasso quite thoroughly, and you can see those influences in his work and especially in these Yosemite paintings.”\u003c/p>\n\u003ch3> Long legacy of Yosemite art\u003c/h3>\n\u003cp>Hockney comes from a long line of artists inspired by Yosemite. In the mid-19th century, \u003ca href=\"http://www.mfa.org/collections/object/valley-of-the-yosemite-33107\" target=\"_blank\" rel=\"noopener\">Albert Bierstadt\u003c/a>’s oil paintings first established the landscape in the American imagination, as did the work of William Kieth and Thomas Hill. “As part the Hudson River School era, they were interested in the epic landscape infused with majestic light,” Reynolds says.\u003c/p>\n\u003cp>Then came photography, epitomized by the work of Ansel Adams, Carleton Watkins and Celia Crocker Thompson. In more recent years, a host of photographers have continued to tackle Yosemite afresh: \u003ca href=\"http://www.matthewbrandt.com/works/taste-tests-in-color/\" target=\"_blank\" rel=\"noopener\">Matthew Brandt\u003c/a>, \u003ca href=\"http://binhdanh.com/Projects/Yosemite/yosemite.html\" target=\"_blank\" rel=\"noopener\">Binh Danh\u003c/a>, \u003ca href=\"http://judydater.com/nudes/pzo007y7y85t95guktxobndyqw7zvg\" target=\"_blank\" rel=\"noopener\">Judy Dater\u003c/a>, \u003ca href=\"http://www.adamkatseff.com/landscapes\" target=\"_blank\" rel=\"noopener\">Adam Katseff\u003c/a>, \u003ca href=\"http://www.americansuburbx.com/2015/07/roger-minick-sightseer.html\" target=\"_blank\" rel=\"noopener\">Roger Minick\u003c/a>, \u003ca href=\"http://lacmaonfire.blogspot.com/2015/11/opies-yosemite-for-la-courthouse.html\" target=\"_blank\" rel=\"noopener\">Catherine Opie\u003c/a> and \u003ca href=\"http://www.milleetibbs.com/mountains_valleys1.html\" target=\"_blank\" rel=\"noopener\">Millee Tibbs\u003c/a>.\u003c/p>\n\u003cp>But relatively few artists are drawn to the park these days. “Yosemite lost the intellectual excitement that it once held to many painters, probably due to how well Yosemite is known and how often it has been depicted,” Reynolds says. “Maybe also because no one had an idea of how to do it differently. How to deal with those impossibly grand views and angles of monumental granite.”\u003c/p>\n\u003cfigure id=\"attachment_12938823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12938823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-800x1077.jpg\" alt='\"Untitled No. 8\" from The Yosemite Suite, 2010, by David Hockney.' width=\"800\" height=\"1077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-800x1077.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-768x1034.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-1020x1373.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-1920x2584.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-1180x1588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-960x1292.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-375x505.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-520x700.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled No. 8” from The Yosemite Suite, 2010, by David Hockney. \u003ccite>(Photo: Courtesy of David Hockney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hockney clearly isn’t intimidated by Yosemite or its legacy on canvas or photo stock. “He’s not afraid to play with places that are very familiar to us,” says \u003ca href=\"http://art.sdsu.edu/profiles/bridget-gilman/\" target=\"_blank\" rel=\"noopener\">Bridget Gilman\u003c/a>, an assistant professor of art history at San Diego State University. “There are all these ways in which a place that’s familiar could be a launching point for some kind of experimentation with materials.”\u003c/p>\n\u003cp>Hockney’s application of iPad painting to one of the nation’s most iconic landmarks ultimately recalls John Muir’s description of the park in \u003cem>The Yosemite\u003c/em>: “From the eastern boundary of this vast golden flower-bed rose the mighty Sierra, miles in height, and so gloriously colored and so radiant, it seemed not clothed with light but wholly composed of it, like the wall of some celestial city.”\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>\u003c/p>\n\u003cp>\u003cem>David Hockey’s ‘Yosemite Suite’ is on view at the Pace Gallery in Palo Alto through Sunday, May 7. More information \u003ca href=\"http://www.pacegallery.com/exhibitions/12797/david-hockney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A traveling exhibition at Pace Gallery in Palo Alto of 28 images the British-born, Los Angeles-based artist created of the iconic national park shows how Hockney continues to reassess familiar territory in new ways. ",
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"title": "David Hockney Captures Yosemite with iPad Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Hockney has been the subject of more than 400 solo exhibitions over his long career. The British-born artist is such a rock star, \u003cem>The Guardian\u003c/em> reports \u003ca class=\"u-underline\" href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">Tate Britain\u003c/a> will be \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/24/tate-britain-to-open-till-midnight-to-cope-with-hockney-show-demand\" target=\"_blank\" rel=\"noopener\">opening its doors until midnight\u003c/a> for the first time to cope with demand for its current major retrospective of Hockney’s work.\u003c/p>\n\u003cp>At a point in his life when major world museums are presenting big Hockney shows, the artist could easily retire. But\u003cem> \u003c/em>an exhibition of 28 images he created of Yosemite National Park, \u003cem>Yosemite Suite,\u003c/em> shows how Hockney continues to reassess familiar territory in new ways. After being shown in London, New York and Venice, CA, \u003cem>Yosemite Suite\u003c/em> has arrived in the Bay Area. The works are on view at the \u003ca href=\"http://www.pacegallery.com/exhibitions/12858/the-yosemite-suite\" target=\"_blank\" rel=\"noopener\">Pace Gallery in Palo Alto\u003c/a> through May 7.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/315264550″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/315264550″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Los Angeles-based visual artist visited Yosemite in 2010 and 2011. Instead of an easel or medium-format camera, he brought his iPad along. The digital drawings he created using the software Brushes have been reproduced as large prints for display, four of them stretching to nearly eight feet in height.\u003c/p>\n\u003cp>Some of the resulting images have been tucked into bigger shows, like \u003ca href=\"http://deyoung.famsf.org/archive/hockney/hockney-about.html\" target=\"_blank\" rel=\"noopener\">\u003cem>David Hockney: A Bigger Exhibition\u003c/em>\u003c/a> at San Francisco’s de Young Museum in 2013. But seeing all 28 images assembled together in a dedicated exhibition immerses the visitor into Hockney’s vision of Yosemite. It’s a vision that is at once sunny and riotously colorful.\u003c/p>\n\u003cfigure id=\"attachment_12938826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12938826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-800x1085.jpg\" alt='\"Untitled No. 21\" from The Yosemite Suite, 2010, by David Hockney.' width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-1920x2605.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY-520x706.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/62628_06_HOCKNEY.jpg 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled No. 21” from The Yosemite Suite, 2010, by David Hockney. \u003ccite>(Photo: Courtesy of David Hockney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trees rise up like the columns of an open, sunlit Gothic cathedral. You feel like you could face-plant into the fluffy, flower-covered mountainsides.\u003c/p>\n\u003ch3>Hockney’s digital space\u003c/h3>\n\u003cp>Over the course of his long career, Hockney has embraced all sorts of technologies, from Polaroid photographs to fax machines. Yet his work always remains rooted in painting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The technology is not the end in itself, but rather, a tool,” says Douglas Baxter, president of Pace Gallery in New York, and Hockney’s longtime friend. With \u003cem>Yosemite Suite\u003c/em>, Baxter says, Hockney responds to the park with an Impressionist’s eye and then “translates it to the iPad.”\u003c/p>\n\u003cp>Not for Hockney the sedate earth tones of artists past. \u003ca href=\"https://www.scu.edu/art/faculty-and-staff/ryan-reynolds/\" target=\"_blank\" rel=\"noopener\">Ryan Reynolds\u003c/a>, an assistant professor of art at Santa Clara University, says the artist translates the language of the landscape into his own patois of color, line and texture. “He takes what could be seen as these postcard views, and turns them into something that you want to contemplate and think about,” Reynolds says.\u003c/p>\n\u003cfigure id=\"attachment_12963302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12963302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-800x1060.jpg\" alt='\"Untitled No. 3\" from The Yosemite Suite, 2010, by David Hockney. ' width=\"800\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-800x1060.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-1020x1351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-1920x2543.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-1180x1563.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-960x1272.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-240x318.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-375x497.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut-520x689.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24690_62610_06_HOCKNEY-qut.jpg 1546w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled No. 3” from The Yosemite Suite, 2010, by David Hockney. \u003ccite>(Photo: Courtesy of David Hockney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For instance, Reynolds says that Hockney is a master of texture, regardless of whether the work is produced with paint and brushes or a finger on a screen. “Dots, lines, scribbles, are used to mimic texture,” Reynolds says. “He’s studied artists like Matisse and Picasso quite thoroughly, and you can see those influences in his work and especially in these Yosemite paintings.”\u003c/p>\n\u003ch3> Long legacy of Yosemite art\u003c/h3>\n\u003cp>Hockney comes from a long line of artists inspired by Yosemite. In the mid-19th century, \u003ca href=\"http://www.mfa.org/collections/object/valley-of-the-yosemite-33107\" target=\"_blank\" rel=\"noopener\">Albert Bierstadt\u003c/a>’s oil paintings first established the landscape in the American imagination, as did the work of William Kieth and Thomas Hill. “As part the Hudson River School era, they were interested in the epic landscape infused with majestic light,” Reynolds says.\u003c/p>\n\u003cp>Then came photography, epitomized by the work of Ansel Adams, Carleton Watkins and Celia Crocker Thompson. In more recent years, a host of photographers have continued to tackle Yosemite afresh: \u003ca href=\"http://www.matthewbrandt.com/works/taste-tests-in-color/\" target=\"_blank\" rel=\"noopener\">Matthew Brandt\u003c/a>, \u003ca href=\"http://binhdanh.com/Projects/Yosemite/yosemite.html\" target=\"_blank\" rel=\"noopener\">Binh Danh\u003c/a>, \u003ca href=\"http://judydater.com/nudes/pzo007y7y85t95guktxobndyqw7zvg\" target=\"_blank\" rel=\"noopener\">Judy Dater\u003c/a>, \u003ca href=\"http://www.adamkatseff.com/landscapes\" target=\"_blank\" rel=\"noopener\">Adam Katseff\u003c/a>, \u003ca href=\"http://www.americansuburbx.com/2015/07/roger-minick-sightseer.html\" target=\"_blank\" rel=\"noopener\">Roger Minick\u003c/a>, \u003ca href=\"http://lacmaonfire.blogspot.com/2015/11/opies-yosemite-for-la-courthouse.html\" target=\"_blank\" rel=\"noopener\">Catherine Opie\u003c/a> and \u003ca href=\"http://www.milleetibbs.com/mountains_valleys1.html\" target=\"_blank\" rel=\"noopener\">Millee Tibbs\u003c/a>.\u003c/p>\n\u003cp>But relatively few artists are drawn to the park these days. “Yosemite lost the intellectual excitement that it once held to many painters, probably due to how well Yosemite is known and how often it has been depicted,” Reynolds says. “Maybe also because no one had an idea of how to do it differently. How to deal with those impossibly grand views and angles of monumental granite.”\u003c/p>\n\u003cfigure id=\"attachment_12938823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12938823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-800x1077.jpg\" alt='\"Untitled No. 8\" from The Yosemite Suite, 2010, by David Hockney.' width=\"800\" height=\"1077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-800x1077.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-768x1034.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-1020x1373.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-1920x2584.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-1180x1588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-960x1292.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-375x505.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut-520x700.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24691_62615_06_HOCKNEY-qut.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled No. 8” from The Yosemite Suite, 2010, by David Hockney. \u003ccite>(Photo: Courtesy of David Hockney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hockney clearly isn’t intimidated by Yosemite or its legacy on canvas or photo stock. “He’s not afraid to play with places that are very familiar to us,” says \u003ca href=\"http://art.sdsu.edu/profiles/bridget-gilman/\" target=\"_blank\" rel=\"noopener\">Bridget Gilman\u003c/a>, an assistant professor of art history at San Diego State University. “There are all these ways in which a place that’s familiar could be a launching point for some kind of experimentation with materials.”\u003c/p>\n\u003cp>Hockney’s application of iPad painting to one of the nation’s most iconic landmarks ultimately recalls John Muir’s description of the park in \u003cem>The Yosemite\u003c/em>: “From the eastern boundary of this vast golden flower-bed rose the mighty Sierra, miles in height, and so gloriously colored and so radiant, it seemed not clothed with light but wholly composed of it, like the wall of some celestial city.”\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>\u003c/p>\n\u003cp>\u003cem>David Hockey’s ‘Yosemite Suite’ is on view at the Pace Gallery in Palo Alto through Sunday, May 7. More information \u003ca href=\"http://www.pacegallery.com/exhibitions/12797/david-hockney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Moonlight\u003c/em> director Barry Jenkins will follow up his Oscar-winning film with a drama series for Amazon based on Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em>.\u003c/p>\n\u003cp>Amazon announced Monday that it will develop the TV series, with Jenkins writing and directing the adaptation of the 2016 National Book Award winner. Whitehead’s \u003cem>The Underground Railroad\u003c/em> is a part-historic, part-surrealistic novel about a slave who escapes on an actual railroad.\u003c/p>\n\u003cp>“Going back to The Intuitionist, Colson’s writing has always defied convention, and The Underground Railroad is no different,” said Jenkins in a statement. “It’s a groundbreaking work that pays respect to our nation’s history while using the form to explore it in a thoughtful and original way. Preserving the sweep and grandeur of a story like this requires bold, innovative thinking and in Amazon we’ve found a partner whose reverence for storytelling and freeness of form is wholly in line with our vision.”\u003c/p>\n\u003cp>Jenkins has already been at work on the series, though how many episodes are planned was not announced. He is to write and direct.\u003c/p>\n\u003cp>\u003cem>Moonlight\u003c/em>, which last month won best picture, was Jenkins’ second film following 2008’s well-regarded but little-seen \u003cem>Medicine for Melancholy\u003c/em>. Made for just $1.5 million, \u003cem>Moonlight\u003c/em> has grossed more than $56 million worldwide. It also won Academy Awards for Jenkins’ screenplay, based on Tarell Alvin McCraney’s play, and for Mahershala Ali’s supporting performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Underground Railroad\u003c/em> will reunite much of the team behind \u003cem>Moonlight\u003c/em>. Like that film, it will be produced by Adele Romanski and Brad Pitt’s Plan B.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Moonlight\u003c/em> director Barry Jenkins will follow up his Oscar-winning film with a drama series for Amazon based on Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em>.\u003c/p>\n\u003cp>Amazon announced Monday that it will develop the TV series, with Jenkins writing and directing the adaptation of the 2016 National Book Award winner. Whitehead’s \u003cem>The Underground Railroad\u003c/em> is a part-historic, part-surrealistic novel about a slave who escapes on an actual railroad.\u003c/p>\n\u003cp>“Going back to The Intuitionist, Colson’s writing has always defied convention, and The Underground Railroad is no different,” said Jenkins in a statement. “It’s a groundbreaking work that pays respect to our nation’s history while using the form to explore it in a thoughtful and original way. Preserving the sweep and grandeur of a story like this requires bold, innovative thinking and in Amazon we’ve found a partner whose reverence for storytelling and freeness of form is wholly in line with our vision.”\u003c/p>\n\u003cp>Jenkins has already been at work on the series, though how many episodes are planned was not announced. He is to write and direct.\u003c/p>\n\u003cp>\u003cem>Moonlight\u003c/em>, which last month won best picture, was Jenkins’ second film following 2008’s well-regarded but little-seen \u003cem>Medicine for Melancholy\u003c/em>. Made for just $1.5 million, \u003cem>Moonlight\u003c/em> has grossed more than $56 million worldwide. It also won Academy Awards for Jenkins’ screenplay, based on Tarell Alvin McCraney’s play, and for Mahershala Ali’s supporting performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Prosecutors in Bill Cosby’s sex assault case in Pennsylvania objected Monday to defense efforts to prescreen as many as 2,000 potential jurors.\u003c/p>\n\u003cp>They also said in a court filing that the jury should be selected weeks before the scheduled June 5 trial so jurors can prepare to be sequestered nearly 300 miles away from home. And they challenged defense claims that it will be tough to find people without opinions of the longtime Hollywood icon.\u003c/p>\n\u003cp>In a sometimes caustic court filing, they called that “a cynical view of the potential jurors in Allegheny County.”\u003c/p>\n\u003cp>“Defendant forecasts that jury selection will take weeks; we are confident that it will not,” Montgomery County District Attorney Kevin Steele said, noting that it took just a day to pick jurors for the state attorney general’s perjury trial last year.\u003c/p>\n\u003cp>Cosby, who turns 80 next month, is accused of drugging and molesting a Temple University basketball team manager at his home in 2004, an encounter he calls consensual. He was 66 at the time; Andrea Constand was 30.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prosecutors had hoped to call a dozen women who have made similar accusations, but the judge will allow just one “prior bad act” witness: a woman who worked for Cosby’s agent and said he drugged and assaulted her during a lunch meeting at the Bel-Air Hotel, in Los Angeles, in 1996.\u003c/p>\n\u003cp>The trial will be held in suburban Philadelphia, where Cosby met with Constand at his estate, but the jury will come from the Pittsburgh area because of pretrial publicity over the past two years. Cosby’s appearance at a half-dozen court hearings has drawn a swarm of national and international media.\u003c/p>\n\u003cp>Defense lawyers have proposed sending a specialized questionnaire to up to 2,000 Allegheny County residents, and to question those who pass muster starting June 5. Prosecutors said Cosby deserves no such “special treatment.” They want opening statements to start that day.\u003c/p>\n\u003cp>The battle over jury selection is just the latest legal maneuvering in the high-profile case. The judge must still decide how much the jury will hear from Cosby’s deposition about his long history of extramarital affairs. The next court hearing is scheduled for Monday.\u003c/p>\n\u003cp>Cosby, a Philadelphia native, broke racial barriers when he became the first black actor to star in a network drama, the 1965 hit \u003cem>I Spy\u003c/em>, a role that earned him three consecutive Emmy awards for best actor. He is perhaps best known for his top-rated 1980s sitcom, \u003cem>The Cosby Show\u003c/em>, which painted a warm portrait of black family life and earned hundreds of millions of dollars in royalties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they are sexual assault victims, but Constand has granted permission through her lawyer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prosecutors in Bill Cosby’s sex assault case in Pennsylvania objected Monday to defense efforts to prescreen as many as 2,000 potential jurors.\u003c/p>\n\u003cp>They also said in a court filing that the jury should be selected weeks before the scheduled June 5 trial so jurors can prepare to be sequestered nearly 300 miles away from home. And they challenged defense claims that it will be tough to find people without opinions of the longtime Hollywood icon.\u003c/p>\n\u003cp>In a sometimes caustic court filing, they called that “a cynical view of the potential jurors in Allegheny County.”\u003c/p>\n\u003cp>“Defendant forecasts that jury selection will take weeks; we are confident that it will not,” Montgomery County District Attorney Kevin Steele said, noting that it took just a day to pick jurors for the state attorney general’s perjury trial last year.\u003c/p>\n\u003cp>Cosby, who turns 80 next month, is accused of drugging and molesting a Temple University basketball team manager at his home in 2004, an encounter he calls consensual. He was 66 at the time; Andrea Constand was 30.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors had hoped to call a dozen women who have made similar accusations, but the judge will allow just one “prior bad act” witness: a woman who worked for Cosby’s agent and said he drugged and assaulted her during a lunch meeting at the Bel-Air Hotel, in Los Angeles, in 1996.\u003c/p>\n\u003cp>The trial will be held in suburban Philadelphia, where Cosby met with Constand at his estate, but the jury will come from the Pittsburgh area because of pretrial publicity over the past two years. Cosby’s appearance at a half-dozen court hearings has drawn a swarm of national and international media.\u003c/p>\n\u003cp>Defense lawyers have proposed sending a specialized questionnaire to up to 2,000 Allegheny County residents, and to question those who pass muster starting June 5. Prosecutors said Cosby deserves no such “special treatment.” They want opening statements to start that day.\u003c/p>\n\u003cp>The battle over jury selection is just the latest legal maneuvering in the high-profile case. The judge must still decide how much the jury will hear from Cosby’s deposition about his long history of extramarital affairs. The next court hearing is scheduled for Monday.\u003c/p>\n\u003cp>Cosby, a Philadelphia native, broke racial barriers when he became the first black actor to star in a network drama, the 1965 hit \u003cem>I Spy\u003c/em>, a role that earned him three consecutive Emmy awards for best actor. He is perhaps best known for his top-rated 1980s sitcom, \u003cem>The Cosby Show\u003c/em>, which painted a warm portrait of black family life and earned hundreds of millions of dollars in royalties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they are sexual assault victims, but Constand has granted permission through her lawyer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the Bay Area’s leading poets, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/joanne-kyger\" target=\"_blank\" rel=\"noopener\">Joanne Kyger\u003c/a>, died this week at the age of 82.\u003c/p>\n\u003cp>Kyger, who died at her Bolinas home, was among the last surviving poets from the beat era. She was also a prominent member of \u003ca href=\"https://www.poets.org/poetsorg/text/brief-guide-san-francisco-renaissance\" target=\"_blank\" rel=\"noopener\">the San Francisco Renaissance.\u003c/a>\u003c/p>\n\u003cp>“She was one of the few women to be able to achieve prominence in what was a very male dominated group of writers,” said Garrett Caples, Kyger’s editor at \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100025950\" target=\"_blank\" rel=\"noopener\">City Lights Books.\u003c/a> which published its most recent collection of Kyger’s poetry in 2014. “That may be why recognition came a little later to Joanne than her male colleagues.”\u003c/p>\n\u003cp>Kyger was deeply influenced in her early writings by Bay Area poets Jack Spicer, Robert Duncan and members of the San Francisco Renaissance. She was briefly married to beat writer Gary Snyder.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iugexLH2osY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kyger published more than 20 collections of poetry, including \u003cem>The Tapestry and the Web\u003c/em> (1965), \u003cem>All This Every Day\u003c/em> (1975), \u003cem>The Wonderful Focus of You\u003c/em> (1979), \u003cem>As Ever: Selected Poems\u003c/em> (2002), and \u003cem>About Now: Collected Poems\u003c/em> (2007).\u003c/p>\n\u003cp>“We have lost one of the major poets of this country. Joanne is not just a good regional poet, even though she is embraced by the West Coast, she is an international poet,” Michael Rothenberg said in a phone interview. \u003ca href=\"http://www.bigbridge.org/BB18/Michael_Rothenberg.html\" target=\"_blank\" rel=\"noopener\">Rothenberg\u003c/a> was a close friend of Kyger’s and edited \u003cem>As Ever\u003c/em>.\u003c/p>\n\u003cp>Rothenberg said Kyger has two new books coming out later this year, a new collection of selected poems, and the reissue of \u003ca href=\"https://www.amazon.com/Strange-Big-Moon-Journals-1960-1964/dp/1556433379\" target=\"_blank\" rel=\"noopener\">\u003cem>Strange Big Moon: Japan and India Journals 1960-1964\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Rothenberg said she always told other poets in need of inspiration to keep a daily record of their thoughts in a journal, and he said Kyger kept them throughout her career.\u003c/p>\n\u003cp>“She worked out of journals. That was a key in terms of her composition style. It was kind of a meditation,” he said.\u003c/p>\n\u003cp>“She was very much a poet of daily life and of nature,” Caples said. “And she used those as a vehicle to get in touch with more metaphysical questions.”\u003c/p>\n\u003cp>Caples said there’s no replacing Kyger in American literature. “The place of poetry has shifted so much in our culture versus when the beats were in their heyday,” he said. “So she’s the last in the group of poets thought of as not simply as poets but also commentators on world affairs.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gll-oHAFqLQ\u003c/p>\n\u003cp>Here’s a poem from Kyger’s collection \u003cem>About Now: Collected Poems (2007):\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>“The Crystal in Tamalpais”\u003c/p>\n\u003cp>In Tamalpais is a big crystal. An acquaintance told\u003cbr>\nme the story. A Miwok was giving his grandfather’s medicine\u003cbr>\nbag to the Kroeber Museum in Berkeley. He said this man\u003cbr>\ntook him over the mountain Tamalpais, at a certain time\u003cbr>\nin the year. I believe it was about the time of the\u003cbr>\nWinter Solstice, because then the tides are really low.\u003cbr>\nThey stopped and gathered a certain plant on the way over\u003cbr>\nthe mountain. On their way to the Bolinas Beach clam patch,\u003cbr>\nwhere there is a big rock way out there.\u003c/p>\n\u003cp>Go out to\u003cbr>\nthe rock. Take out of the medicine bag the crystal\u003cbr>\nthat matches the crystal in Tamalpais. And\u003cbr>\nif your heart is not true\u003cbr>\nif your heart is not true\u003cbr>\nwhen you tap the rock in the clam patch\u003cbr>\na little piece of it will fly off\u003cbr>\nand strike you in the heart\u003cbr>\nand strike you dead.\u003c/p>\n\u003cp>And that’s the first story I ever heard about Bolinas.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the Bay Area’s leading poets, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/joanne-kyger\" target=\"_blank\" rel=\"noopener\">Joanne Kyger\u003c/a>, died this week at the age of 82.\u003c/p>\n\u003cp>Kyger, who died at her Bolinas home, was among the last surviving poets from the beat era. She was also a prominent member of \u003ca href=\"https://www.poets.org/poetsorg/text/brief-guide-san-francisco-renaissance\" target=\"_blank\" rel=\"noopener\">the San Francisco Renaissance.\u003c/a>\u003c/p>\n\u003cp>“She was one of the few women to be able to achieve prominence in what was a very male dominated group of writers,” said Garrett Caples, Kyger’s editor at \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100025950\" target=\"_blank\" rel=\"noopener\">City Lights Books.\u003c/a> which published its most recent collection of Kyger’s poetry in 2014. “That may be why recognition came a little later to Joanne than her male colleagues.”\u003c/p>\n\u003cp>Kyger was deeply influenced in her early writings by Bay Area poets Jack Spicer, Robert Duncan and members of the San Francisco Renaissance. She was briefly married to beat writer Gary Snyder.\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/iugexLH2osY'\n title='//www.youtube.com/embed/iugexLH2osY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kyger published more than 20 collections of poetry, including \u003cem>The Tapestry and the Web\u003c/em> (1965), \u003cem>All This Every Day\u003c/em> (1975), \u003cem>The Wonderful Focus of You\u003c/em> (1979), \u003cem>As Ever: Selected Poems\u003c/em> (2002), and \u003cem>About Now: Collected Poems\u003c/em> (2007).\u003c/p>\n\u003cp>“We have lost one of the major poets of this country. Joanne is not just a good regional poet, even though she is embraced by the West Coast, she is an international poet,” Michael Rothenberg said in a phone interview. \u003ca href=\"http://www.bigbridge.org/BB18/Michael_Rothenberg.html\" target=\"_blank\" rel=\"noopener\">Rothenberg\u003c/a> was a close friend of Kyger’s and edited \u003cem>As Ever\u003c/em>.\u003c/p>\n\u003cp>Rothenberg said Kyger has two new books coming out later this year, a new collection of selected poems, and the reissue of \u003ca href=\"https://www.amazon.com/Strange-Big-Moon-Journals-1960-1964/dp/1556433379\" target=\"_blank\" rel=\"noopener\">\u003cem>Strange Big Moon: Japan and India Journals 1960-1964\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Rothenberg said she always told other poets in need of inspiration to keep a daily record of their thoughts in a journal, and he said Kyger kept them throughout her career.\u003c/p>\n\u003cp>“She worked out of journals. That was a key in terms of her composition style. It was kind of a meditation,” he said.\u003c/p>\n\u003cp>“She was very much a poet of daily life and of nature,” Caples said. “And she used those as a vehicle to get in touch with more metaphysical questions.”\u003c/p>\n\u003cp>Caples said there’s no replacing Kyger in American literature. “The place of poetry has shifted so much in our culture versus when the beats were in their heyday,” he said. “So she’s the last in the group of poets thought of as not simply as poets but also commentators on world affairs.”\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/gll-oHAFqLQ'\n title='//www.youtube.com/embed/gll-oHAFqLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s a poem from Kyger’s collection \u003cem>About Now: Collected Poems (2007):\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>“The Crystal in Tamalpais”\u003c/p>\n\u003cp>In Tamalpais is a big crystal. An acquaintance told\u003cbr>\nme the story. A Miwok was giving his grandfather’s medicine\u003cbr>\nbag to the Kroeber Museum in Berkeley. He said this man\u003cbr>\ntook him over the mountain Tamalpais, at a certain time\u003cbr>\nin the year. I believe it was about the time of the\u003cbr>\nWinter Solstice, because then the tides are really low.\u003cbr>\nThey stopped and gathered a certain plant on the way over\u003cbr>\nthe mountain. On their way to the Bolinas Beach clam patch,\u003cbr>\nwhere there is a big rock way out there.\u003c/p>\n\u003cp>Go out to\u003cbr>\nthe rock. Take out of the medicine bag the crystal\u003cbr>\nthat matches the crystal in Tamalpais. And\u003cbr>\nif your heart is not true\u003cbr>\nif your heart is not true\u003cbr>\nwhen you tap the rock in the clam patch\u003cbr>\na little piece of it will fly off\u003cbr>\nand strike you in the heart\u003cbr>\nand strike you dead.\u003c/p>\n\u003cp>And that’s the first story I ever heard about Bolinas.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness",
"headTitle": "Cy and David’s Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness | KQED",
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170324.mp3\u003c/p>\n\u003cp>We didn’t plan it this way, but the show this week is a tribute to audacious women making art. It seems a good time for that. David and I also include shoutouts for Idris Ackamoor and the Pyramids, who bring their mix of jazz, African pop and Sun Ra-inspired freedom to \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">Pt. Richmond Jazz\u003c/a>; details \u003ca href=\"http://prjazzpyramid.bpt.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And David squeezes in a nod to the San Francisco Gay Men’s Chorus, doing a show at the Herbst called \u003cem>Paradise\u003c/em>, including the Alan Mencken song “God Help the Outcasts.” Details \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ukzY2ODrUmM\u003c/p>\n\u003cp>\u003cstrong>March 25\u003c/strong>: We’ll always think of Kristin Chenoweth as Glynda, the good witch from \u003cem>Wicked\u003c/em>, a musical that worked out its kinks during a month-long run in San Francisco before blowing the doors off Broadway. Audiences at the Curran Theater saw how Chenoweth’s voice could be both girlish and fabulously powerful. She’s also been great on television in \u003cem>Glee\u003c/em> and as a co-star of \u003cem>Pushing up Daisies\u003c/em>. Now she’s touring, doing a few favorites from \u003cem>Wicked \u003c/em>and treasures from the Great American Songbook — and she never phones it in. Details on her Bing Concert Hall show March 25 are \u003ca href=\"https://live.stanford.edu/calendar/march-2017/intimate-evening-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ltsf3xeyQdQ\u003c/p>\n\u003cp>\u003cstrong>March 24–25 & April 8\u003c/strong>: The Bay Area’s \u003ca href=\"http://www.theleelainstitute.org/\" target=\"_blank\" rel=\"noopener\">Leela Dance\u003c/a> is committed to keeping Kathak, a rhythmic bare-footed dance form going back hundreds of years in India, alive and fresh. Leela continues the work of Chitresh Das, who made the Bay Area a center of innovation for Kathak. This weekend at \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>, Leela Dance performs \u003cem>Speak\u003c/em>, a mashup of Kathak (Leela Dance members Rachna Nivas and Rina Mehta) with tap (Dormeshia Sumbry-Edwards and MacArthur winner Michelle Dorrance). Then, on April 8, the ambitious troupe presents the world premiere of \u003cem>Son of the Wind\u003c/em>, a dance drama about a mischievous hero rescuing a kidnapped princess (cue Disney). Details for \u003cem>Speak\u003c/em> at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/rachna-nivas-speak\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for \u003cem>Son of the Wind\u003c/em> at the Green Music Center in Rohnert Park are \u003ca href=\"http://gmc.sonoma.edu/event/3189887-leela-dance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kNNLECFITvs\u003c/p>\n\u003cp>\u003cstrong>March 30:\u003c/strong> We may think of the blues as an iconic form: a black man with a guitar. But Pamela Rose posits in her musical tribute \u003ca href=\"https://bluesisawoman.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Blues is a Woman\u003c/em> \u003c/a>that it was stars like Ma Rainey and Alberta Hunter — on through to Janis Joplin and Bonnie Raitt — who really powered the development of the blues as popular music. “They were also presenting a really different idea of what women could be like in popular song,” Rose says in a phone interview. “These blues women did not suffer in silence. And that voice, that independence, that ‘I’m going to give you some advice, if he’s not good enough move on to find another.’ Women who frankly admitted they’d misbehaved. That voice changed entertainment and it still lives with us today.”\u003c/p>\n\u003cp>Rose has gathered a crackerjack all-woman blues band to help perform the show, with Kristen Strom on saxophone, Tammy Hall on keyboards, Ruth Davies on bass, Pat Wilder on guitar and Daria Johnson on drums. This performance is a preview show ahead of a month-long run at the \u003ca href=\"https://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theater \u003c/a>, running August 3–27. Details for \u003cem>Blues is a Woman\u003c/em> at Freight and Salvage in Berkeley on Thursday are \u003ca href=\"http://thefreight.org/pamela-rose-wild-women-song\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for one of Rose’s regular gigs at Angelica’s in Redwood City, on April 6, are \u003ca href=\"http://angelicaswm.tunestub.com/event.cfm?cart&id=258439\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12944478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12944478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-800x450.jpg\" alt=\"Paula Vogel‘s ‘The Baltimore Waltz‘ is coming to The Magic Theatre\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Vogel‘s ‘The Baltimore Waltz’ is coming to The Magic Theatre. \u003ccite>(Photo: Courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 24–April 16:\u003c/strong> Playwright Paula Vogel is having a moment, with her first Broadway drama (\u003cem>Indecent\u003c/em>) opening in a few weeks. Now, we get a chance to look back on one of the plays that made her reputation — 1990’s \u003cem>The Baltimore Waltz\u003c/em>, a romantic comedy/drama about the AIDS crisis inspired by her grief at the death of her own brother. Lauren English plays the sister, returning to the stage after too long an absence. The always-sharp Jonathan Moscone is directing. “Paula writes with a necessary indelicacy around grieving,” Moscone says, “not to revere it but just write it and laugh as much as you can.” And David says Vogel has even been sitting in on rehearsals — something she hasn’t done in years for \u003cem>The Baltimore Waltz\u003c/em> — so this should be a worthy revival. Details for the run at the Magic Theatre are \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And the Magic brings \u003cem>The Baltimore Waltz\u003c/em> to Laney College in Oakland for one matinee performance on Saturday, April 1, with details \u003ca href=\"http://magictheatre.org/laney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgPViIFfCB4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: To cap a show devoted to strong women, here’s a singer both women and men can swoon to. \u003ca href=\"http://www.josejamesmusic.com/\" target=\"_blank\" rel=\"noopener\">José James \u003c/a>is a master of the slow jam, singing jazz, R&B, and hip-hop in a sultry baritone. He fits right in on the \u003ca href=\"http://www.fiftyshadesmovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifty Shades Darker\u003c/em> \u003c/a>soundtrack album. Apparently James was planning an album about the hot issues of our time, from racism to economic inequality, and then decided the world needed a place to escape all that. Details for his show on Wednesday, March 29, at the Independent in San Francisco are \u003ca href=\"http://www.theindependentsf.com/event/1415209-jose-james-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "This week, the Do List spotlights Kristen Chenoweth, a Kathak dance troupe, a female blues revue, a hip-hop crooner worth swooning over and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170324.mp3\u003c/p>\n\u003cp>We didn’t plan it this way, but the show this week is a tribute to audacious women making art. It seems a good time for that. David and I also include shoutouts for Idris Ackamoor and the Pyramids, who bring their mix of jazz, African pop and Sun Ra-inspired freedom to \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">Pt. Richmond Jazz\u003c/a>; details \u003ca href=\"http://prjazzpyramid.bpt.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And David squeezes in a nod to the San Francisco Gay Men’s Chorus, doing a show at the Herbst called \u003cem>Paradise\u003c/em>, including the Alan Mencken song “God Help the Outcasts.” Details \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ukzY2ODrUmM'\n title='//www.youtube.com/embed/ukzY2ODrUmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 25\u003c/strong>: We’ll always think of Kristin Chenoweth as Glynda, the good witch from \u003cem>Wicked\u003c/em>, a musical that worked out its kinks during a month-long run in San Francisco before blowing the doors off Broadway. Audiences at the Curran Theater saw how Chenoweth’s voice could be both girlish and fabulously powerful. She’s also been great on television in \u003cem>Glee\u003c/em> and as a co-star of \u003cem>Pushing up Daisies\u003c/em>. Now she’s touring, doing a few favorites from \u003cem>Wicked \u003c/em>and treasures from the Great American Songbook — and she never phones it in. Details on her Bing Concert Hall show March 25 are \u003ca href=\"https://live.stanford.edu/calendar/march-2017/intimate-evening-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ltsf3xeyQdQ'\n title='//www.youtube.com/embed/Ltsf3xeyQdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 24–25 & April 8\u003c/strong>: The Bay Area’s \u003ca href=\"http://www.theleelainstitute.org/\" target=\"_blank\" rel=\"noopener\">Leela Dance\u003c/a> is committed to keeping Kathak, a rhythmic bare-footed dance form going back hundreds of years in India, alive and fresh. Leela continues the work of Chitresh Das, who made the Bay Area a center of innovation for Kathak. This weekend at \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>, Leela Dance performs \u003cem>Speak\u003c/em>, a mashup of Kathak (Leela Dance members Rachna Nivas and Rina Mehta) with tap (Dormeshia Sumbry-Edwards and MacArthur winner Michelle Dorrance). Then, on April 8, the ambitious troupe presents the world premiere of \u003cem>Son of the Wind\u003c/em>, a dance drama about a mischievous hero rescuing a kidnapped princess (cue Disney). Details for \u003cem>Speak\u003c/em> at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/rachna-nivas-speak\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for \u003cem>Son of the Wind\u003c/em> at the Green Music Center in Rohnert Park are \u003ca href=\"http://gmc.sonoma.edu/event/3189887-leela-dance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kNNLECFITvs'\n title='//www.youtube.com/embed/kNNLECFITvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 30:\u003c/strong> We may think of the blues as an iconic form: a black man with a guitar. But Pamela Rose posits in her musical tribute \u003ca href=\"https://bluesisawoman.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Blues is a Woman\u003c/em> \u003c/a>that it was stars like Ma Rainey and Alberta Hunter — on through to Janis Joplin and Bonnie Raitt — who really powered the development of the blues as popular music. “They were also presenting a really different idea of what women could be like in popular song,” Rose says in a phone interview. “These blues women did not suffer in silence. And that voice, that independence, that ‘I’m going to give you some advice, if he’s not good enough move on to find another.’ Women who frankly admitted they’d misbehaved. That voice changed entertainment and it still lives with us today.”\u003c/p>\n\u003cp>Rose has gathered a crackerjack all-woman blues band to help perform the show, with Kristen Strom on saxophone, Tammy Hall on keyboards, Ruth Davies on bass, Pat Wilder on guitar and Daria Johnson on drums. This performance is a preview show ahead of a month-long run at the \u003ca href=\"https://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theater \u003c/a>, running August 3–27. Details for \u003cem>Blues is a Woman\u003c/em> at Freight and Salvage in Berkeley on Thursday are \u003ca href=\"http://thefreight.org/pamela-rose-wild-women-song\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for one of Rose’s regular gigs at Angelica’s in Redwood City, on April 6, are \u003ca href=\"http://angelicaswm.tunestub.com/event.cfm?cart&id=258439\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12944478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12944478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-800x450.jpg\" alt=\"Paula Vogel‘s ‘The Baltimore Waltz‘ is coming to The Magic Theatre\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Vogel‘s ‘The Baltimore Waltz’ is coming to The Magic Theatre. \u003ccite>(Photo: Courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 24–April 16:\u003c/strong> Playwright Paula Vogel is having a moment, with her first Broadway drama (\u003cem>Indecent\u003c/em>) opening in a few weeks. Now, we get a chance to look back on one of the plays that made her reputation — 1990’s \u003cem>The Baltimore Waltz\u003c/em>, a romantic comedy/drama about the AIDS crisis inspired by her grief at the death of her own brother. Lauren English plays the sister, returning to the stage after too long an absence. The always-sharp Jonathan Moscone is directing. “Paula writes with a necessary indelicacy around grieving,” Moscone says, “not to revere it but just write it and laugh as much as you can.” And David says Vogel has even been sitting in on rehearsals — something she hasn’t done in years for \u003cem>The Baltimore Waltz\u003c/em> — so this should be a worthy revival. Details for the run at the Magic Theatre are \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And the Magic brings \u003cem>The Baltimore Waltz\u003c/em> to Laney College in Oakland for one matinee performance on Saturday, April 1, with details \u003ca href=\"http://magictheatre.org/laney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BgPViIFfCB4'\n title='//www.youtube.com/embed/BgPViIFfCB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: To cap a show devoted to strong women, here’s a singer both women and men can swoon to. \u003ca href=\"http://www.josejamesmusic.com/\" target=\"_blank\" rel=\"noopener\">José James \u003c/a>is a master of the slow jam, singing jazz, R&B, and hip-hop in a sultry baritone. He fits right in on the \u003ca href=\"http://www.fiftyshadesmovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifty Shades Darker\u003c/em> \u003c/a>soundtrack album. Apparently James was planning an album about the hot issues of our time, from racism to economic inequality, and then decided the world needed a place to escape all that. Details for his show on Wednesday, March 29, at the Independent in San Francisco are \u003ca href=\"http://www.theindependentsf.com/event/1415209-jose-james-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After almost 25 years, Carey Perloff announced Thursday that she is stepping down as Artistic Director for San Francisco’s American Conservatory Theater (A.C.T.).\u003c/p>\n\u003cp>Perloff says will be leaving at the end of the 2017–18 season, so she can work on a touring production and her own writing projects. Her legacy will be that of a “phenomenal” artistic director, as well as “a gifted playwright, author, producer, director, teacher, mentor, and consummate fundraiser,” said Nancy Livingston, chair of A.C.T.’s Board of Trustees.\u003c/p>\n\u003cp>In 1992, Perloff came to San Francisco from New York, having worked at the off-Broadway Classic Stage Company for five years, following predecessors and A.C.T. co-founders Ed Hastings and William Ball.\u003c/p>\n\u003cp>“I came because ACT was built on a great idea and great ideas are hard to come by,” Perloff said Thursday. “And Bill Ball’s idea was great repertoire in collaboration with great training, and that a professional theater should always be about the future.”\u003c/p>\n\u003cp>Under Perloff’s artistic leadership, ACT rebuilt the Geary Theater after the Loma Prieta Earthquake, and helped raised $30 million to renovate and open the Strand Theater on Market Street.\u003c/p>\n\u003cfigure id=\"attachment_12943821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12943821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg\" alt=\"Perloff outside of The Strand\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perloff outside of The Strand\u003c/figcaption>\u003c/figure>\n\u003cp>Perloff also directed plays by Tom Stoppard, Harold Pinter and others. Among the world premieres she helmed were David Mamet’s adaptation of the \u003cem>The Voysey Inheritance\u003c/em> and \u003cem>The Tosca Project,\u003c/em> which Perloff co-created with choreographer Val Caniparoli.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her 25th season at A.C.T. begins next fall, and she says she stayed for so long partly because she found a great audience here.\u003c/p>\n\u003cp>“Its fearless. We can do the most risk-taking and challenging work in a very big house, because this is an audience that has appetite (for that),” Perloff said.\u003c/p>\n\u003cp>One reason she’s leaving, she says, is the success of the world premiere she directed of \u003cem>A Thousand Splendid Suns\u003c/em> — adapted from a book by San Jose’s Khaled Hosseini, about women in Afghanistan — that will be touring the country for the next few years.\u003c/p>\n\u003cp>But she’s happy to be leaving with decades of wonderful memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One favorite moment was standing at the back of the house on opening night of (Shakespeare’s) \u003cem>The Tempest\u003c/em>, the day the Geary reopened, and listening to the Kronos Quartet, the Bay Area’s greatest music ensemble,” she said. “That was so thrilling to me. To see that play rise on that stage, after the ruins of the earthquake. That was really magical.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After almost 25 years, Carey Perloff announced Thursday that she is stepping down as Artistic Director for San Francisco’s American Conservatory Theater (A.C.T.).\u003c/p>\n\u003cp>Perloff says will be leaving at the end of the 2017–18 season, so she can work on a touring production and her own writing projects. Her legacy will be that of a “phenomenal” artistic director, as well as “a gifted playwright, author, producer, director, teacher, mentor, and consummate fundraiser,” said Nancy Livingston, chair of A.C.T.’s Board of Trustees.\u003c/p>\n\u003cp>In 1992, Perloff came to San Francisco from New York, having worked at the off-Broadway Classic Stage Company for five years, following predecessors and A.C.T. co-founders Ed Hastings and William Ball.\u003c/p>\n\u003cp>“I came because ACT was built on a great idea and great ideas are hard to come by,” Perloff said Thursday. “And Bill Ball’s idea was great repertoire in collaboration with great training, and that a professional theater should always be about the future.”\u003c/p>\n\u003cp>Under Perloff’s artistic leadership, ACT rebuilt the Geary Theater after the Loma Prieta Earthquake, and helped raised $30 million to renovate and open the Strand Theater on Market Street.\u003c/p>\n\u003cfigure id=\"attachment_12943821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12943821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg\" alt=\"Perloff outside of The Strand\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perloff outside of The Strand\u003c/figcaption>\u003c/figure>\n\u003cp>Perloff also directed plays by Tom Stoppard, Harold Pinter and others. Among the world premieres she helmed were David Mamet’s adaptation of the \u003cem>The Voysey Inheritance\u003c/em> and \u003cem>The Tosca Project,\u003c/em> which Perloff co-created with choreographer Val Caniparoli.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her 25th season at A.C.T. begins next fall, and she says she stayed for so long partly because she found a great audience here.\u003c/p>\n\u003cp>“Its fearless. We can do the most risk-taking and challenging work in a very big house, because this is an audience that has appetite (for that),” Perloff said.\u003c/p>\n\u003cp>One reason she’s leaving, she says, is the success of the world premiere she directed of \u003cem>A Thousand Splendid Suns\u003c/em> — adapted from a book by San Jose’s Khaled Hosseini, about women in Afghanistan — that will be touring the country for the next few years.\u003c/p>\n\u003cp>But she’s happy to be leaving with decades of wonderful memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One favorite moment was standing at the back of the house on opening night of (Shakespeare’s) \u003cem>The Tempest\u003c/em>, the day the Geary reopened, and listening to the Kronos Quartet, the Bay Area’s greatest music ensemble,” she said. “That was so thrilling to me. To see that play rise on that stage, after the ruins of the earthquake. That was really magical.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chuck Barris not only hosted \u003cem>The Gong Show\u003c/em>, but he is responsible for creating such iconic TV game shows as \u003cem>The Dating Game\u003c/em> and \u003cem>The Newlywed Game\u003c/em>.\u003c/p>\n\u003cp>Barris died of natural causes Tuesday at his home in Palisades, N.Y., according to publicist Paul Shefrin.\u003c/p>\n\u003cp>On Barris’ gambit into game shows, \u003ca href=\"http://variety.com/2017/tv/news/chuck-barris-dead-dies-gong-show-host-1202013790/\" target=\"_blank\" rel=\"noopener\">Variety reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“He formed Chuck Barris Productions in 1965 and created \u003cem>The Dating Game\u003c/em>, hosted by Jim Lange, which introduced swinging 1960s double entendres to the formerly staid game show genre and ran for 11 out of the next 15 years. In 1966 he launched \u003cem>The Newlywed Game\u003c/em>, hosted by Bob Eubanks, which ran for 19 years; Game Show Network still airs a version of the show.\u003c/p>\n\u003cp>“Barris finally made it in front of the camera when he began hosting \u003cem>The Gong Show\u003c/em> in 1976. Though it only ran two years on NBC and four years in syndication, the show is still remembered for its wacky spoof of the talent show format. He introduced the amateur contestants dressed in colorful clothing with odd props, with judges Jamie Farr, Jaye P. Morgan and Arte Johnson adding to the goofy atmosphere. Other offbeat characters on the show included “Gene Gene the Dancing Machine” and Murray Langston, the “Unknown Comic,” who wore a paper bag over his head.\u003c/p>\n\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=Oh04k5YonjU\u003c/p>\n\u003cp>In 1962, before his time in game shows, Barris wrote a popular pop song called “Palisades Park.” The tribute to the old amusement park in New Jersey was a hit for singer Freddy Cannon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barris, a Philadelphia native, also put pen to paper in 1984 for his autobiography: \u003cem>Confessions of a Dangerous Mind: An Unauthorized Biography\u003c/em>.\u003c/p>\n\u003cp>In it, he claimed to be an assassin for the CIA. The book was turned into a movie in 2002 and was a first-time directing gig for George Clooney.\u003c/p>\n\u003cp>As far as the CIA assassin claim goes, The Associated Press reports:\u003c/p>\n\u003cp>“It sounds like he has been standing too close to the gong all those years,” quipped CIA spokesman Tom Crispell. “Chuck Barris has never been employed by the CIA and the allegation that he was a hired assassin is absurd,” Crispell added.\u003c/p>\n\u003cp>Perhaps the closest Barris got to working for the CIA was when he was hired by a TV network. According to \u003ca href=\"http://www.hollywoodreporter.com/news/chuck-barris-dead-gong-show-929310\">The Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“After working various odd jobs, including traveling around the country selling teleprompters, Barris moved to New York and became an NBC page. He went through a management training program and took a sales job, but then the network fired everyone in the department.\u003c/p>\n\u003cp>“He then was hired by ABC, which offered him the dubious assignment of tailing Dick Clark, the young and popular host of TV’s American Bandstand, at Philadelphia station WFIL-TV. Barris’ task was to ascertain whether Clark was involved in the illegal practice of payola.\u003c/p>\n\u003cp>“It was so ridiculous. If I left at 6 o’clock, what’s to say he couldn’t be doing anything nefarious after 6 o’clock?” Barris said.\u003c/p>\n\u003cp>“Still, he wrote daily memos detailing the goings-on at American Bandstand for about a year, and his notes were presented before a House of Representatives subcommittee in Washington. Ultimately, Clark was absolved of any wrongdoing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Chuck Barris, who critics called “The King of Schlock” or “The Baron of Bad Taste” was 87. \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=%27Gong+Show%27+Host+Chuck+Barris+Dies%3B+Game+Show+Creator+Was+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chuck Barris not only hosted \u003cem>The Gong Show\u003c/em>, but he is responsible for creating such iconic TV game shows as \u003cem>The Dating Game\u003c/em> and \u003cem>The Newlywed Game\u003c/em>.\u003c/p>\n\u003cp>Barris died of natural causes Tuesday at his home in Palisades, N.Y., according to publicist Paul Shefrin.\u003c/p>\n\u003cp>On Barris’ gambit into game shows, \u003ca href=\"http://variety.com/2017/tv/news/chuck-barris-dead-dies-gong-show-host-1202013790/\" target=\"_blank\" rel=\"noopener\">Variety reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“He formed Chuck Barris Productions in 1965 and created \u003cem>The Dating Game\u003c/em>, hosted by Jim Lange, which introduced swinging 1960s double entendres to the formerly staid game show genre and ran for 11 out of the next 15 years. In 1966 he launched \u003cem>The Newlywed Game\u003c/em>, hosted by Bob Eubanks, which ran for 19 years; Game Show Network still airs a version of the show.\u003c/p>\n\u003cp>“Barris finally made it in front of the camera when he began hosting \u003cem>The Gong Show\u003c/em> in 1976. Though it only ran two years on NBC and four years in syndication, the show is still remembered for its wacky spoof of the talent show format. He introduced the amateur contestants dressed in colorful clothing with odd props, with judges Jamie Farr, Jaye P. Morgan and Arte Johnson adding to the goofy atmosphere. Other offbeat characters on the show included “Gene Gene the Dancing Machine” and Murray Langston, the “Unknown Comic,” who wore a paper bag over his head.\u003c/p>\n\u003c/blockquote>\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/Oh04k5YonjU'\n title='//www.youtube.com/embed/Oh04k5YonjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1962, before his time in game shows, Barris wrote a popular pop song called “Palisades Park.” The tribute to the old amusement park in New Jersey was a hit for singer Freddy Cannon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Barris, a Philadelphia native, also put pen to paper in 1984 for his autobiography: \u003cem>Confessions of a Dangerous Mind: An Unauthorized Biography\u003c/em>.\u003c/p>\n\u003cp>In it, he claimed to be an assassin for the CIA. The book was turned into a movie in 2002 and was a first-time directing gig for George Clooney.\u003c/p>\n\u003cp>As far as the CIA assassin claim goes, The Associated Press reports:\u003c/p>\n\u003cp>“It sounds like he has been standing too close to the gong all those years,” quipped CIA spokesman Tom Crispell. “Chuck Barris has never been employed by the CIA and the allegation that he was a hired assassin is absurd,” Crispell added.\u003c/p>\n\u003cp>Perhaps the closest Barris got to working for the CIA was when he was hired by a TV network. According to \u003ca href=\"http://www.hollywoodreporter.com/news/chuck-barris-dead-gong-show-929310\">The Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“After working various odd jobs, including traveling around the country selling teleprompters, Barris moved to New York and became an NBC page. He went through a management training program and took a sales job, but then the network fired everyone in the department.\u003c/p>\n\u003cp>“He then was hired by ABC, which offered him the dubious assignment of tailing Dick Clark, the young and popular host of TV’s American Bandstand, at Philadelphia station WFIL-TV. Barris’ task was to ascertain whether Clark was involved in the illegal practice of payola.\u003c/p>\n\u003cp>“It was so ridiculous. If I left at 6 o’clock, what’s to say he couldn’t be doing anything nefarious after 6 o’clock?” Barris said.\u003c/p>\n\u003cp>“Still, he wrote daily memos detailing the goings-on at American Bandstand for about a year, and his notes were presented before a House of Representatives subcommittee in Washington. Ultimately, Clark was absolved of any wrongdoing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Chuck Barris, who critics called “The King of Schlock” or “The Baron of Bad Taste” was 87. \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=%27Gong+Show%27+Host+Chuck+Barris+Dies%3B+Game+Show+Creator+Was+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Trump’s Electronics Restrictions Could Cause Headaches for Touring Musicians | KQED",
"content": "\u003cp>The news that the U.S. is placing restrictions on what airline passengers can carry in the cabin on direct flights from eight majority-Muslim nations is creating ripples of concern throughout the arts community.\u003c/p>\n\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003c/p>\n\u003cp>According to the rules newly issued by President Trump’s administration, passengers must check most electronic devices — including laptops, cameras and tablets — into their checked baggage. Travelers will still be allowed to carry their mobile phones in their hand luggage.\u003c/p>\n\u003cp>Just as international businesspeople and tourists may be concerned about possible thefts, data breaches, lithium battery hazards and other potential forms of damage, musicians are beginning to grapple with the possible effects that these restrictions may have on their live performances. Many artists bring along work gear in the cabin when they tour — and elements of their shows (including electronic music and visual projections) might well be stored on their laptops, tablets and other devices that now will be relegated to the cargo hold, if the artists travel on the affected carriers.\u003c/p>\n\u003cp>The regulations are directed towards flights coming into the U.S. from eight majority-Muslim countries who are all traditionally allies of the U.S.: Egypt, Kuwait, Jordan, Morocco, Qatar, Saudi Arabia, Turkey and the United Arab Emirates. According to our colleague Greg Myre who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/03/21/520896835/u-s-limits-electronic-devices-on-flights-from-8-muslim-countries\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> on this story for \u003cem>Morning Edition\u003c/em>, the new rules affect passengers on about 50 incoming flights per day, on travelers traveling on non-U.S. carriers. As Myre also notes, the eight affected countries include “every major travel hub in the region except Israel’s main airport just outside Tel Aviv.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the airports on the list also serve as major transportation hubs to other international destinations, including Dubai (which is now the \u003ca href=\"http://www.telegraph.co.uk/travel/news/busiest-airport-international-passengers/\" target=\"_blank\" rel=\"noopener\">busiest airport\u003c/a> in the world, beating out the likes of London’s Heathrow and Hong Kong); Istanbul, an important connection point between Europe and Asia; and Casablanca, a popular hub for travelers coming to and from elsewhere in Africa.\u003c/p>\n\u003cp>Some prominent American musicians have tour dates in several of these cities in the coming weeks, including pianist and composer Vijay Iyer, who is slated to peform at NYU Abu Dhabi’s Arts Center on March 30 and 31 with his trio Tirtha and ICE (International Contemporary Ensemble); the group Pink Martini, who has dates in Casablanca (April 9 at the Jazzablanca festival) and Istanbul (April 15 at the Volkswagen Arena); and hip-hop artists Earl Sweatshirt and Danny Brown, as well as singer Julianna Barwick, who are all slated to perform in Dubai on April 14 as part of the RBMA Weekender Dubai festival.\u003c/p>\n\u003cp>Iyer says that the Abu Dhabi concerts include quite a bit of the exact kinds of equipment that the new regulations target. The performances are of \u003cem>\u003ca href=\"http://nyuad.nyu.edu/en/news-events/abu-dhabi-events/2017/03/radhe-radhe-rites-of-holi.html\" target=\"_blank\" rel=\"noopener\">Radhe Radhe: Rites of Holi\u003c/a>\u003c/em>, a multi-media, film and live-music project which Iyer created with the late filmmaker Prashant Bhargava.\u003c/p>\n\u003cp>“In \u003cem>Radhe Radhe\u003c/em>,” Iyer explains, “there are multiple laptops involved — one for video run from front of house, one for audio cues run by me from the stage, and whatever system used to run front-of-house sound — not to mention a lot of instruments and gear all around.”\u003c/p>\n\u003cp>“Many of the ICE musicians read their music on iPads,” he continues, “using a foot switch to turn virtual pages. It seems we’d have to check these items only on the way home, but of course then we’d all be worried about loss, damage or theft. I’m guessing we still won’t be allowed to lock these cases.” Iyer points out that if musicians were traveling on an American carrier or routing through Europe, they wouldn’t be having these issues; instead, they’re booked on a foreign carrier.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Iyer adds that he, along with other musicians, have spent this morning looking into various solutions for getting gear back home to the U.S. \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=Trump%27s+Electronics+Restrictions+Could+Cause+Headaches+For+Touring+Musicians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Cities like Dubai, Istanbul, Abu Dhabi and Casablanca have become popular touring destinations for prominent American artists. What effect might the new baggage restrictions have on their work?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The news that the U.S. is placing restrictions on what airline passengers can carry in the cabin on direct flights from eight majority-Muslim nations is creating ripples of concern throughout the arts community.\u003c/p>\n\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003c/p>\n\u003cp>According to the rules newly issued by President Trump’s administration, passengers must check most electronic devices — including laptops, cameras and tablets — into their checked baggage. Travelers will still be allowed to carry their mobile phones in their hand luggage.\u003c/p>\n\u003cp>Just as international businesspeople and tourists may be concerned about possible thefts, data breaches, lithium battery hazards and other potential forms of damage, musicians are beginning to grapple with the possible effects that these restrictions may have on their live performances. Many artists bring along work gear in the cabin when they tour — and elements of their shows (including electronic music and visual projections) might well be stored on their laptops, tablets and other devices that now will be relegated to the cargo hold, if the artists travel on the affected carriers.\u003c/p>\n\u003cp>The regulations are directed towards flights coming into the U.S. from eight majority-Muslim countries who are all traditionally allies of the U.S.: Egypt, Kuwait, Jordan, Morocco, Qatar, Saudi Arabia, Turkey and the United Arab Emirates. According to our colleague Greg Myre who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/03/21/520896835/u-s-limits-electronic-devices-on-flights-from-8-muslim-countries\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> on this story for \u003cem>Morning Edition\u003c/em>, the new rules affect passengers on about 50 incoming flights per day, on travelers traveling on non-U.S. carriers. As Myre also notes, the eight affected countries include “every major travel hub in the region except Israel’s main airport just outside Tel Aviv.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the airports on the list also serve as major transportation hubs to other international destinations, including Dubai (which is now the \u003ca href=\"http://www.telegraph.co.uk/travel/news/busiest-airport-international-passengers/\" target=\"_blank\" rel=\"noopener\">busiest airport\u003c/a> in the world, beating out the likes of London’s Heathrow and Hong Kong); Istanbul, an important connection point between Europe and Asia; and Casablanca, a popular hub for travelers coming to and from elsewhere in Africa.\u003c/p>\n\u003cp>Some prominent American musicians have tour dates in several of these cities in the coming weeks, including pianist and composer Vijay Iyer, who is slated to peform at NYU Abu Dhabi’s Arts Center on March 30 and 31 with his trio Tirtha and ICE (International Contemporary Ensemble); the group Pink Martini, who has dates in Casablanca (April 9 at the Jazzablanca festival) and Istanbul (April 15 at the Volkswagen Arena); and hip-hop artists Earl Sweatshirt and Danny Brown, as well as singer Julianna Barwick, who are all slated to perform in Dubai on April 14 as part of the RBMA Weekender Dubai festival.\u003c/p>\n\u003cp>Iyer says that the Abu Dhabi concerts include quite a bit of the exact kinds of equipment that the new regulations target. The performances are of \u003cem>\u003ca href=\"http://nyuad.nyu.edu/en/news-events/abu-dhabi-events/2017/03/radhe-radhe-rites-of-holi.html\" target=\"_blank\" rel=\"noopener\">Radhe Radhe: Rites of Holi\u003c/a>\u003c/em>, a multi-media, film and live-music project which Iyer created with the late filmmaker Prashant Bhargava.\u003c/p>\n\u003cp>“In \u003cem>Radhe Radhe\u003c/em>,” Iyer explains, “there are multiple laptops involved — one for video run from front of house, one for audio cues run by me from the stage, and whatever system used to run front-of-house sound — not to mention a lot of instruments and gear all around.”\u003c/p>\n\u003cp>“Many of the ICE musicians read their music on iPads,” he continues, “using a foot switch to turn virtual pages. It seems we’d have to check these items only on the way home, but of course then we’d all be worried about loss, damage or theft. I’m guessing we still won’t be allowed to lock these cases.” Iyer points out that if musicians were traveling on an American carrier or routing through Europe, they wouldn’t be having these issues; instead, they’re booked on a foreign carrier.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Iyer adds that he, along with other musicians, have spent this morning looking into various solutions for getting gear back home to the U.S. \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=Trump%27s+Electronics+Restrictions+Could+Cause+Headaches+For+Touring+Musicians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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