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"content": "\u003cp>The fight to save arts and culture funding moved to the steps of San Francisco City Hall Tuesday.\u003c/p>\n\u003cp>Approximately 200 arts leaders chanted “culture is power,” and rallied on behalf of the National Endowment for the Arts (NEA) and the National Endowment for the Humanities, as well as for a bump in city funding.\u003c/p>\n\u003cfigure id=\"attachment_12934830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12934830\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/003-e1490143414350-800x385.jpg\" alt=\"Abada Capoeira performed at the arts rally at San Francisco City Hall\" width=\"800\" height=\"385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-768x370.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-1020x491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-1180x568.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-960x462.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-240x116.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-375x181.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-520x250.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350.jpg 1630w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abada Capoeira performed at the arts rally at San Francisco City Hall. \u003ccite>(Photo: Cy Musike/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We face a government that believes that art and culture belongs to the privileged few,” said Jon Moscone, director of civic engagement for the Yerba Buena Center for the Arts (YBCA), as he addressed the crowd.\u003c/p>\n\u003cfigure id=\"attachment_12934831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12934831 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/010-e1490143558265-800x454.jpg\" alt=\"Yerba Buena Center for the Arts Director of Civic Engagement Jon Moscone\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts Director of Civic Engagement Jon Moscone. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So today, in San Francisco when we advocate for the arts, we stand up against that. Everybody deserves arts, everybody deserves culture.”\u003c/p>\n\u003cp>Over the past three years, the NEA has given $6.5 million to San Francisco arts organizations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rally organizers worked to show the role that federal and city funds play in supporting organizations both big, like YBCA, and small.\u003c/p>\n\u003cfigure id=\"attachment_12934832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12934832\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-800x461.jpg\" alt=\"Signs at the rally for arts funding Wednesday at San Francisco City Hall\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-1180x680.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823.jpg 1756w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signs at the rally for arts funding Tuesday at San Francisco City Hall. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are here because of federal and city grants,” said Jason Bayani, Artistic Director for the tiny Kearny Street Workshop, a group that’s been supporting Asian-American artists for 43 years. “Part of our mission is to turn artists into community members and community members into artists.”\u003c/p>\n\u003cp>The rally was also intended to pressure San Francisco supervisors to increase arts support by $2.5 million in a city where artists get credit for boosting the economy, but often can’t afford the rent.\u003c/p>\n\u003cp>Supervisors Jane Kim and Sandra Lee Fewer both stated their support for the funding hike, but the arts budget remains in peril, with Mayor Ed Lee calling on every city department to cut its budget by three percent in the coming fiscal year.\u003c/p>\n\u003cfigure id=\"attachment_12934834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12934834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/007-e1490143909457-800x481.jpg\" alt=\"San Francisco Supervisor Jane Kim promised to work to boost city funding for the arts at a San Francisco Arts Advocacy Day rally\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457.jpg 1765w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Supervisor Jane Kim promised to work to boost city funding for the arts at a San Francisco Arts Advocacy Day rally. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, California arts leaders visited Washington D.C. on Tuesday, lobbying members of Congress on the NEA’s behalf. Theatre Bay Area Executive Director and Californians for the Arts Board Member Brad Erickson led the California delegation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a phone interview, Erickson said he expected support for cultural funding from Democrats. “But I think we’re seeing that there is also Republican support for the NEA,” he added, including from Representative Ken Calvert, who chairs the interior subcommittee which oversees arts funding. “Calvert is actually a very strong advocate of the NEA and other cultural endowments,” Erickson said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fight to save arts and culture funding moved to the steps of San Francisco City Hall Tuesday.\u003c/p>\n\u003cp>Approximately 200 arts leaders chanted “culture is power,” and rallied on behalf of the National Endowment for the Arts (NEA) and the National Endowment for the Humanities, as well as for a bump in city funding.\u003c/p>\n\u003cfigure id=\"attachment_12934830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12934830\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/003-e1490143414350-800x385.jpg\" alt=\"Abada Capoeira performed at the arts rally at San Francisco City Hall\" width=\"800\" height=\"385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-768x370.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-1020x491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-1180x568.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-960x462.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-240x116.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-375x181.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350-520x250.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/003-e1490143414350.jpg 1630w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abada Capoeira performed at the arts rally at San Francisco City Hall. \u003ccite>(Photo: Cy Musike/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We face a government that believes that art and culture belongs to the privileged few,” said Jon Moscone, director of civic engagement for the Yerba Buena Center for the Arts (YBCA), as he addressed the crowd.\u003c/p>\n\u003cfigure id=\"attachment_12934831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12934831 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/010-e1490143558265-800x454.jpg\" alt=\"Yerba Buena Center for the Arts Director of Civic Engagement Jon Moscone\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/010-e1490143558265.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts Director of Civic Engagement Jon Moscone. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So today, in San Francisco when we advocate for the arts, we stand up against that. Everybody deserves arts, everybody deserves culture.”\u003c/p>\n\u003cp>Over the past three years, the NEA has given $6.5 million to San Francisco arts organizations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rally organizers worked to show the role that federal and city funds play in supporting organizations both big, like YBCA, and small.\u003c/p>\n\u003cfigure id=\"attachment_12934832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12934832\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-800x461.jpg\" alt=\"Signs at the rally for arts funding Wednesday at San Francisco City Hall\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-1180x680.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-1-e1490143715823.jpg 1756w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signs at the rally for arts funding Tuesday at San Francisco City Hall. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are here because of federal and city grants,” said Jason Bayani, Artistic Director for the tiny Kearny Street Workshop, a group that’s been supporting Asian-American artists for 43 years. “Part of our mission is to turn artists into community members and community members into artists.”\u003c/p>\n\u003cp>The rally was also intended to pressure San Francisco supervisors to increase arts support by $2.5 million in a city where artists get credit for boosting the economy, but often can’t afford the rent.\u003c/p>\n\u003cp>Supervisors Jane Kim and Sandra Lee Fewer both stated their support for the funding hike, but the arts budget remains in peril, with Mayor Ed Lee calling on every city department to cut its budget by three percent in the coming fiscal year.\u003c/p>\n\u003cfigure id=\"attachment_12934834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12934834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/007-e1490143909457-800x481.jpg\" alt=\"San Francisco Supervisor Jane Kim promised to work to boost city funding for the arts at a San Francisco Arts Advocacy Day rally\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/007-e1490143909457.jpg 1765w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Supervisor Jane Kim promised to work to boost city funding for the arts at a San Francisco Arts Advocacy Day rally. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, California arts leaders visited Washington D.C. on Tuesday, lobbying members of Congress on the NEA’s behalf. Theatre Bay Area Executive Director and Californians for the Arts Board Member Brad Erickson led the California delegation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a phone interview, Erickson said he expected support for cultural funding from Democrats. “But I think we’re seeing that there is also Republican support for the NEA,” he added, including from Representative Ken Calvert, who chairs the interior subcommittee which oversees arts funding. “Calvert is actually a very strong advocate of the NEA and other cultural endowments,” Erickson said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Berkeley Repertory Theatre announced the lineup for its 2017-2018 season Tuesday and among its seven productions will be both parts of the epic \u003ci>Angels in America: A Gay Fantasia on National Themes,\u003c/i> the first time its played in Bay Area in over 20 years.\u003c/p>\n\u003cp>[contextly_sidebar id=”CzHODKVgGtqMDUoH5Sj2RDROPkH3I4zB”]\u003c/p>\n\u003cp>This upcoming season will be the second to last for the theater’s \u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/berkeley-rep-artistic-director-tony-taccone-announces-departure/\" target=\"_blank\" rel=\"noopener\">longtime artistic director Tony Taccone\u003c/a>, who originally commissioned \u003ci>Angels in America\u003c/i> in 1988 from then-budding playwright Tony Kushner. The play became a massive success, winning the Pulitzer Prize and the Tony Award for Best Play among other awards, and would start a collaboration between Taccone and Kushner that still exists today.\u003c/p>\n\u003cp>This season will be Taccone’s 20th with Berkeley Rep, and the production of \u003ci>Angels in America\u003c/i> will be its first at the theater.\u003c/p>\n\u003cp>Taccone will also be directing his second collaboration with Daniel Handler, best known as the Lemony Snicket, author of the children’s book series \u003ci>A Series of Unfortunate Events.\u003c/i> The play, \u003ci>Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit,\u003c/i> premieres in October of this year and is described as following “ordinary people trying to make sense out of life in the midst of endless, comedic chaos.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The season opens with the world premiere of \u003cem>Ain’t Too Proud — The Temptations,\u003c/em> which tells the story of the world famous Motown quintet, who Billboard Magazine declared was “the greatest R&B group of all time.” The group began on the streets of Detroit and with the help of hitmaker Berry Gordy, became one of America’s most successful groups. The play portrays the group as they hit the musical stratosphere, only to come crashing back to earth due to drug problems and other issues.\u003c/p>\n\u003cp>“Both in terms of content and form, every play in the 2017-18 season is a radical attempt to reveal something about how we live,” Taccone said.\u003c/p>\n\u003cp>\u003ci>Ain’t Too Proud\u003c/i> was written by Kennedy Award-winning playwright Dominique Morisseau, and will be choreographed by Olivier Award winner Sergio Trujillo and directed by Des McAnuff, who won Tony Awards for his work on \u003ci>Big River\u003c/i> and \u003ci>The Who’s Tommy.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see the full 2017-2018 season, visit the \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Rep website\u003c/a>.\u003c/p>\n\n",
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"headline": "Berkeley Rep Announces 2017-2018 Season, Includes 'Angels In America'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Repertory Theatre announced the lineup for its 2017-2018 season Tuesday and among its seven productions will be both parts of the epic \u003ci>Angels in America: A Gay Fantasia on National Themes,\u003c/i> the first time its played in Bay Area in over 20 years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This upcoming season will be the second to last for the theater’s \u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/berkeley-rep-artistic-director-tony-taccone-announces-departure/\" target=\"_blank\" rel=\"noopener\">longtime artistic director Tony Taccone\u003c/a>, who originally commissioned \u003ci>Angels in America\u003c/i> in 1988 from then-budding playwright Tony Kushner. The play became a massive success, winning the Pulitzer Prize and the Tony Award for Best Play among other awards, and would start a collaboration between Taccone and Kushner that still exists today.\u003c/p>\n\u003cp>This season will be Taccone’s 20th with Berkeley Rep, and the production of \u003ci>Angels in America\u003c/i> will be its first at the theater.\u003c/p>\n\u003cp>Taccone will also be directing his second collaboration with Daniel Handler, best known as the Lemony Snicket, author of the children’s book series \u003ci>A Series of Unfortunate Events.\u003c/i> The play, \u003ci>Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit,\u003c/i> premieres in October of this year and is described as following “ordinary people trying to make sense out of life in the midst of endless, comedic chaos.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The season opens with the world premiere of \u003cem>Ain’t Too Proud — The Temptations,\u003c/em> which tells the story of the world famous Motown quintet, who Billboard Magazine declared was “the greatest R&B group of all time.” The group began on the streets of Detroit and with the help of hitmaker Berry Gordy, became one of America’s most successful groups. The play portrays the group as they hit the musical stratosphere, only to come crashing back to earth due to drug problems and other issues.\u003c/p>\n\u003cp>“Both in terms of content and form, every play in the 2017-18 season is a radical attempt to reveal something about how we live,” Taccone said.\u003c/p>\n\u003cp>\u003ci>Ain’t Too Proud\u003c/i> was written by Kennedy Award-winning playwright Dominique Morisseau, and will be choreographed by Olivier Award winner Sergio Trujillo and directed by Des McAnuff, who won Tony Awards for his work on \u003ci>Big River\u003c/i> and \u003ci>The Who’s Tommy.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see the full 2017-2018 season, visit the \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Rep website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "political-prints-pull-no-punches-at-juan-r-fuentes-gallery",
"title": "Political Prints Pull No Punches at Juan R. Fuentes Gallery",
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"headTitle": "Political Prints Pull No Punches at Juan R. Fuentes Gallery | KQED",
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"content": "\u003cp>The presidency of Donald Trump has motivated artists like never before. Some have responded with nuanced images that probe the divisions of our age, others with more sharply satiric caricature.\u003c/p>\n\u003cp>That’s especially true for printmakers, whose art is often a tool for political activism.\u003c/p>\n\u003cp>“The graphic quality of printmaking tends to make a statement more quickly than a lot of other media,” said artist, teacher and self-described “instigator” \u003ca href=\"http://arthazelwood.com/\" target=\"_blank\" rel=\"noopener\">Art Hazelwood\u003c/a>, standing the other day in the tiny Juan R. Fuentes gallery at \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> in San Francisco’s Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12930019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg\" alt=\"Fernando Marti's etching "This Machine Kills Fascists" is a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s.\" width=\"800\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1020x442.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1920x833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1180x512.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-960x416.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-520x226.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s etching ‘This Machine Kills Fascists’ is both a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s. \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit Hazelwood co-curated with Fuentes, \u003ca href=\"http://accionlatina.org/en/creation-resistance-printmaking-dark-times/\" target=\"_blank\" rel=\"noopener\">\u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em>,\u003c/a> is on display through April 7. Hazelwood and Fuentes began contacting artists for the exhibit a year ago, although many of them are showing work created just in the past few months, as a response to the election.\u003c/p>\n\u003cfigure id=\"attachment_12930018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930018 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg\" alt=\"David Avery did four etchings for the show 'Creation and Resistance' at Acción Latina\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1920x1107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1180x681.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Avery made four etchings for the show ‘Creation and Resistance’ at Acción Latina. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take \u003ca href=\"http://davidavery.net/apropos/\" target=\"_blank\" rel=\"noopener\">David Avery\u003c/a>’s hand-colored etching, \u003cem>The Year of the Rooster. The World Wants to be Deceived.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an image of a limp penis sporting a fan of peacock feathers. Avery said it’s meant to symbolize the President, and satirize his self-aggrandizing style and history of harassing women.\u003c/p>\n\u003cfigure id=\"attachment_12930024\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930024 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg\" alt=\"Fernando Marti -"American Flag Color" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-768x1179.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-1020x1566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-960x1474.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-240x369.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-375x576.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-520x798.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s ‘American Flag Color,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was my reaction, as quick as I could do it,” said Avery, “It’s another way of looking at the emperor with no clothes.”\u003c/p>\n\u003cp>Avery is one of 11 printmakers in the show, all of whom take a left-leaning perspective on current events.\u003c/p>\n\u003cp>“I’m 65 and I don’t think, ever in my lifetime, I’ve seen anything as bad as things are with President Trump in office,” Avery said. “We have fascism in America. You can’t sit by and just make art, unless it addresses what’s going on.”\u003c/p>\n\u003cp>Active and even bloody resistance to President Trump is represented by \u003ca href=\"http://www.josart.net/\" target=\"_blank\" rel=\"noopener\">Jos Sances\u003c/a>’ screenprint with watercolor, \u003cem>Judith Slaying Holofernes\u003c/em>, a take on a baroque masterpiece by the female artist \u003ca href=\"http://www.arthistoryarchive.com/arthistory/baroque/Artemisia-Gentileschi.html\" target=\"_blank\" rel=\"noopener\">Artemisia Gentileschi\u003c/a>.\u003c/p>\n\u003cp>In Sances’ version, Trump takes the role of an Assyrian general whose head was cut off by the biblical hero \u003ca href=\"https://en.wikipedia.org/wiki/Book_of_Judith\" target=\"_blank\" rel=\"noopener\">Judith\u003c/a>, the woman he lusted for. The print bears the tongue-in-cheek caption, “Any resemblance to persons living or dead is completely accidental.”\u003c/p>\n\u003cfigure id=\"attachment_12929807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12929807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg\" alt=\"Jos Sances' Screenprint with watercolor "Judith Slaying Holofernes"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jos Sances’ screenprint with watercolor, ‘Judith Slaying Holofernes.'” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sances’ politics and those of \u003ca href=\"http://www.malaquiasmontoya.com/\" target=\"_blank\" rel=\"noopener\">Malaquias Montoya \u003c/a>(his work \u003cem>Mein Trumpf\u003c/em> is pictured above) are anything but subtle, but \u003cem>Newsfeed\u003c/em>, a relief print by San Francisco Art Institute student \u003ca href=\"http://howlingmoondog.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Kate Laster\u003c/a>, is a study in ambiguity.\u003c/p>\n\u003cp>“This is the preamble on my mind, a way of untangling emotional baggage,” Laster said of her work, which shows a woman desperately embracing a figure made out of newsprint. “I keep thinking about doublespeak. There are all of these lies from Trump, these horrible things he’s saying that are affecting every part of our lives.”\u003c/p>\n\u003cfigure id=\"attachment_12930020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930020 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg\" alt='Kate Lasker standing in front of her relief print \"Newsfeed\" part of the show ‘Creation and Resistance' width=\"800\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-160x283.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-768x1359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-1020x1805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-960x1699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-240x425.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-375x664.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-520x920.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292.jpg 1157w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate Lasker standing in front of her relief print ‘Newsfeed,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other prints in the show were inspired by the \u003ca href=\"http://www.npr.org/tags/492631446/dakota-access-pipeline\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline protests\u003c/a>, and President Trump’s decision to authorize construction by the Army Corps of Engineers. “The Standing Rock Sioux are fighting a government that is still not respecting its treaties,” said Veronica Solis, who made the linocut \u003cem>Winter Count\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12930022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg\" alt=\"Veronica Solis' linocut "Winter Count" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1920x1162.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Solis’ linocut ‘Winter Count,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solis, a Mexican immigrant, was deeply offended by Trump’s derogatory comments about people like her. “We have to remember,” she said, perhaps speaking for all the artists in the show, “that reality is not what he says it is. Immigrants are a big part of what makes this country so great. So we need to be loud. And these prints are our way to speak.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The exhibit \u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em> continues through Friday, April 7, when \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> hosts a closing reception from 6-9pm featuring an artist panel including Chamuco Cortez, Kate Laster, Fernando Marti, Veronica Solis and David Avery.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Printmakers respond to the presidency of Donald Trump with a mix of thoughtful and bitterly caustic art.",
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"title": "Political Prints Pull No Punches at Juan R. Fuentes Gallery | KQED",
"description": "Printmakers respond to the presidency of Donald Trump with a mix of thoughtful and bitterly caustic art.",
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"headline": "Political Prints Pull No Punches at Juan R. Fuentes Gallery",
"datePublished": "2017-03-21T13:00:59-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The presidency of Donald Trump has motivated artists like never before. Some have responded with nuanced images that probe the divisions of our age, others with more sharply satiric caricature.\u003c/p>\n\u003cp>That’s especially true for printmakers, whose art is often a tool for political activism.\u003c/p>\n\u003cp>“The graphic quality of printmaking tends to make a statement more quickly than a lot of other media,” said artist, teacher and self-described “instigator” \u003ca href=\"http://arthazelwood.com/\" target=\"_blank\" rel=\"noopener\">Art Hazelwood\u003c/a>, standing the other day in the tiny Juan R. Fuentes gallery at \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> in San Francisco’s Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12930019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg\" alt=\"Fernando Marti's etching "This Machine Kills Fascists" is a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s.\" width=\"800\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1020x442.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1920x833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1180x512.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-960x416.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-520x226.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s etching ‘This Machine Kills Fascists’ is both a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s. \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit Hazelwood co-curated with Fuentes, \u003ca href=\"http://accionlatina.org/en/creation-resistance-printmaking-dark-times/\" target=\"_blank\" rel=\"noopener\">\u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em>,\u003c/a> is on display through April 7. Hazelwood and Fuentes began contacting artists for the exhibit a year ago, although many of them are showing work created just in the past few months, as a response to the election.\u003c/p>\n\u003cfigure id=\"attachment_12930018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930018 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg\" alt=\"David Avery did four etchings for the show 'Creation and Resistance' at Acción Latina\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1920x1107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1180x681.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Avery made four etchings for the show ‘Creation and Resistance’ at Acción Latina. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take \u003ca href=\"http://davidavery.net/apropos/\" target=\"_blank\" rel=\"noopener\">David Avery\u003c/a>’s hand-colored etching, \u003cem>The Year of the Rooster. The World Wants to be Deceived.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an image of a limp penis sporting a fan of peacock feathers. Avery said it’s meant to symbolize the President, and satirize his self-aggrandizing style and history of harassing women.\u003c/p>\n\u003cfigure id=\"attachment_12930024\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930024 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg\" alt=\"Fernando Marti -"American Flag Color" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-768x1179.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-1020x1566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-960x1474.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-240x369.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-375x576.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-520x798.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s ‘American Flag Color,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was my reaction, as quick as I could do it,” said Avery, “It’s another way of looking at the emperor with no clothes.”\u003c/p>\n\u003cp>Avery is one of 11 printmakers in the show, all of whom take a left-leaning perspective on current events.\u003c/p>\n\u003cp>“I’m 65 and I don’t think, ever in my lifetime, I’ve seen anything as bad as things are with President Trump in office,” Avery said. “We have fascism in America. You can’t sit by and just make art, unless it addresses what’s going on.”\u003c/p>\n\u003cp>Active and even bloody resistance to President Trump is represented by \u003ca href=\"http://www.josart.net/\" target=\"_blank\" rel=\"noopener\">Jos Sances\u003c/a>’ screenprint with watercolor, \u003cem>Judith Slaying Holofernes\u003c/em>, a take on a baroque masterpiece by the female artist \u003ca href=\"http://www.arthistoryarchive.com/arthistory/baroque/Artemisia-Gentileschi.html\" target=\"_blank\" rel=\"noopener\">Artemisia Gentileschi\u003c/a>.\u003c/p>\n\u003cp>In Sances’ version, Trump takes the role of an Assyrian general whose head was cut off by the biblical hero \u003ca href=\"https://en.wikipedia.org/wiki/Book_of_Judith\" target=\"_blank\" rel=\"noopener\">Judith\u003c/a>, the woman he lusted for. The print bears the tongue-in-cheek caption, “Any resemblance to persons living or dead is completely accidental.”\u003c/p>\n\u003cfigure id=\"attachment_12929807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12929807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg\" alt=\"Jos Sances' Screenprint with watercolor "Judith Slaying Holofernes"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jos Sances’ screenprint with watercolor, ‘Judith Slaying Holofernes.'” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sances’ politics and those of \u003ca href=\"http://www.malaquiasmontoya.com/\" target=\"_blank\" rel=\"noopener\">Malaquias Montoya \u003c/a>(his work \u003cem>Mein Trumpf\u003c/em> is pictured above) are anything but subtle, but \u003cem>Newsfeed\u003c/em>, a relief print by San Francisco Art Institute student \u003ca href=\"http://howlingmoondog.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Kate Laster\u003c/a>, is a study in ambiguity.\u003c/p>\n\u003cp>“This is the preamble on my mind, a way of untangling emotional baggage,” Laster said of her work, which shows a woman desperately embracing a figure made out of newsprint. “I keep thinking about doublespeak. There are all of these lies from Trump, these horrible things he’s saying that are affecting every part of our lives.”\u003c/p>\n\u003cfigure id=\"attachment_12930020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930020 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg\" alt='Kate Lasker standing in front of her relief print \"Newsfeed\" part of the show ‘Creation and Resistance' width=\"800\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-160x283.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-768x1359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-1020x1805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-960x1699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-240x425.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-375x664.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-520x920.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292.jpg 1157w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate Lasker standing in front of her relief print ‘Newsfeed,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other prints in the show were inspired by the \u003ca href=\"http://www.npr.org/tags/492631446/dakota-access-pipeline\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline protests\u003c/a>, and President Trump’s decision to authorize construction by the Army Corps of Engineers. “The Standing Rock Sioux are fighting a government that is still not respecting its treaties,” said Veronica Solis, who made the linocut \u003cem>Winter Count\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12930022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg\" alt=\"Veronica Solis' linocut "Winter Count" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1920x1162.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Solis’ linocut ‘Winter Count,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solis, a Mexican immigrant, was deeply offended by Trump’s derogatory comments about people like her. “We have to remember,” she said, perhaps speaking for all the artists in the show, “that reality is not what he says it is. Immigrants are a big part of what makes this country so great. So we need to be loud. And these prints are our way to speak.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The exhibit \u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em> continues through Friday, April 7, when \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> hosts a closing reception from 6-9pm featuring an artist panel including Chamuco Cortez, Kate Laster, Fernando Marti, Veronica Solis and David Avery.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Grammy-winning musician Wyclef Jean says he was unfairly detained by authorities in Los Angeles County after being mistaken for a robbery suspect.\u003c/p>\n\u003cp>Jean posted a video Tuesday on Twitter showing himself in handcuffs leaned over a patrol car.\u003c/p>\n\u003cp>Jean said he was stopped by Los Angeles police, but he was actually detained by sheriff’s deputies in neighboring West Hollywood.\u003c/p>\n\u003cp>The former Fugees star said he tried to explain that he wasn’t the suspect but was ignored and cuffed.\u003c/p>\n\u003cp>Sheriff’s spokeswoman Nicole Nishida says Jean’s clothing and vehicle matched the description of a suspect in an armed robbery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says he was detained for a “short time” and then released. The suspects were later arrested.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jean said on Twitter that he was “appalled at this behavior.”\u003c/p>\n\n",
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"content": "\u003cp>Roman Polanski’s attorney implored a judge Monday to signal how the fugitive director would be sentenced if he returned to Los Angeles to resolve his long-running underage sex abuse case.\u003c/p>\n\u003cp>Superior Court Judge Scott Gordon heard arguments in the four-decade-old case but gave no immediate indication of how he would rule, saying he would issue a written order.\u003c/p>\n\u003cp>Polanski’s lawyer, Harland Braun, said he was trying to find a solution for a unique case, while a prosecutor said the Oscar winner was trying to get special treatment and dictate how the case proceeds from afar.\u003c/p>\n\u003cp>Deputy District Attorney Michele Hanisee said Polanski needed to appear in court to resolve the charges and urged the judge to reject what she called an attempt to give a “wealthy celebrity different treatment than any other fugitive.”\u003c/p>\n\u003cp>The hearing was the first time in seven years that a Los Angeles judge has considered Polanski’s case, which dates to 1977. He was accused of plying a 13-year-old girl with champagne and part of a sedative pill, then raping her at actor Jack Nicholson’s house.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Polanski pleaded guilty to unlawful sex with a minor but fled Los Angeles on the eve of sentencing in 1989. Since then, his movements have been restricted to France, Poland and Switzerland.\u003cbr>\nThe victim has said she forgives the “Rosemary’s Baby” director and believes the case should end.\u003c/p>\n\u003cp>Polanski, 83, has long contended that he is the victim of judicial misconduct because a now-deceased judge who handled the case suggested in private remarks that he would renege on a plea bargain and sentencing agreement. It called for no more time behind bars for the director after he spent 42 days in a prison undergoing a diagnostic screening.\u003c/p>\n\u003cp>Braun says Polanski has already served his sentence, in a part due to 335 days he spent in jail and under house arrest during a failed extradition effort from Switzerland in 2010.\u003c/p>\n\u003cp>The defense attorney pointed to statements by the original lawyers on the case saying the deceased judge had gone back on the sentence he initially promised the director. Braun said he was trying to get an assurance that the original agreement would be honored, either from the judge or prosecutors.\u003c/p>\n\u003cp>Hanisee refused, and Gordon did not indicate how he would respond. The judge directed several pointed questions about the facts and evidence to Braun during the hearing, and the prosecutor said she thought Braun’s calculations about how much time Polanski has served were incorrect.\u003c/p>\n\u003cp>Braun tried several strategies before and during the hearing but ultimately abandoned an effort to unseal 2010 testimony from the original prosecutor. He said the various approaches aimed to get enough of an assurance for Polanski to return to the United States, hopefully without the need to arrest the director.\u003c/p>\n\u003cp>“This is a unique case, and I’m trying to fashion a unique solution to resolve the case,” Braun said.\u003c/p>\n\u003cp>Hanisee blamed Polanski for its strange procedural history.\u003c/p>\n\u003cp>“This case is 40 years old because the defendant fled,” she said.\u003c/p>\n\u003cp>Braun has given a lengthy recitation of allegations of past judicial misconduct in his court filings but said Monday he did not want to litigate those issues.\u003c/p>\n\u003cp>“You’ve ventured very far into those things you don’t want to get into,” Gordon told Braun, smiling.\u003c/p>\n\u003cp>The judge said that if Polanski wanted to address those allegations in court, it would seem that he would need to personally appear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Polanski won an Academy Award for best director for his 2002 film “The Pianist” and was nominated for 1974’s “Chinatown” and 1979’s “Tess.”\u003cbr>\n___\u003cbr>\n can be reached at http://twitter.com/mccartneyAP .\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Polanski pleaded guilty to unlawful sex with a minor but fled Los Angeles on the eve of sentencing in 1989. Since then, his movements have been restricted to France, Poland and Switzerland.\u003cbr>\nThe victim has said she forgives the “Rosemary’s Baby” director and believes the case should end.\u003c/p>\n\u003cp>Polanski, 83, has long contended that he is the victim of judicial misconduct because a now-deceased judge who handled the case suggested in private remarks that he would renege on a plea bargain and sentencing agreement. It called for no more time behind bars for the director after he spent 42 days in a prison undergoing a diagnostic screening.\u003c/p>\n\u003cp>Braun says Polanski has already served his sentence, in a part due to 335 days he spent in jail and under house arrest during a failed extradition effort from Switzerland in 2010.\u003c/p>\n\u003cp>The defense attorney pointed to statements by the original lawyers on the case saying the deceased judge had gone back on the sentence he initially promised the director. Braun said he was trying to get an assurance that the original agreement would be honored, either from the judge or prosecutors.\u003c/p>\n\u003cp>Hanisee refused, and Gordon did not indicate how he would respond. The judge directed several pointed questions about the facts and evidence to Braun during the hearing, and the prosecutor said she thought Braun’s calculations about how much time Polanski has served were incorrect.\u003c/p>\n\u003cp>Braun tried several strategies before and during the hearing but ultimately abandoned an effort to unseal 2010 testimony from the original prosecutor. He said the various approaches aimed to get enough of an assurance for Polanski to return to the United States, hopefully without the need to arrest the director.\u003c/p>\n\u003cp>“This is a unique case, and I’m trying to fashion a unique solution to resolve the case,” Braun said.\u003c/p>\n\u003cp>Hanisee blamed Polanski for its strange procedural history.\u003c/p>\n\u003cp>“This case is 40 years old because the defendant fled,” she said.\u003c/p>\n\u003cp>Braun has given a lengthy recitation of allegations of past judicial misconduct in his court filings but said Monday he did not want to litigate those issues.\u003c/p>\n\u003cp>“You’ve ventured very far into those things you don’t want to get into,” Gordon told Braun, smiling.\u003c/p>\n\u003cp>The judge said that if Polanski wanted to address those allegations in court, it would seem that he would need to personally appear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Polanski won an Academy Award for best director for his 2002 film “The Pianist” and was nominated for 1974’s “Chinatown” and 1979’s “Tess.”\u003cbr>\n___\u003cbr>\n can be reached at http://twitter.com/mccartneyAP .\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Man Charged After Attack on Painting at London's National Gallery",
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"content": "\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \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=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \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=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Draw The Line Illustrates the Simplicity, Beauty of Taking Action",
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"content": "\u003cp>Can comic artists change the world? Well, you could ask Daniel Clowes how his \u003ca href=\"https://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">boycott of the Grand Prix d’Angouleme\u003c/a> turned out. Or you could take action yourself and see what happens.\u003c/p>\n\u003cp>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a> is propelled by the notion that if you want to become politically active, nothing’s stopping you. The website provides 365 concrete actions for any budding activist, even those with little free time or money. Many are basic and easy, such as a \u003ca href=\"https://drawthelinecomics.com/2017/02/05/the-cheap-stuff-actions-you-can-take-with-just-a-small-budget/\" target=\"_blank\" rel=\"noopener\">starting a collection for food banks\u003c/a> and reporting fake news on social media. Some of the suggestions are even geared towards kids. All are accompanied by illustrations from comic artists all over the world. \u003c/p>\n\u003cp>Wanting to take action herself, the idea behind Draw The Line came to British comic publisher Myfanwy Nixon while on a jog. As soon as she returned home, she jumped on the computer and began reaching out to artists. Within hours, she had around 140 artists lined up and was soliciting ideas for actions to illustrate \u003ca href=\"https://www.facebook.com/mockduck/posts/10153774168531735?pnref=story\" target=\"_blank\" rel=\"noopener\">on social media\u003c/a>.\u003c/p>\n\u003cp>Initially Nixon planned to print a small pamphlet featuring all 365 actions, but she now hopes to have them printed in something more substantial and with wide distribution.\u003c/p>\n\u003cp>\u003ci>Here are a few examples of the illustrations on Draw The Line:\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12916823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/118_christine_wong-800x626.jpg\" alt='\"Click the Triangle\" by Christine Wong, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Click the Triangle” by Christine Wong, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-800x626.jpg\" alt='\"Be Playful\" by Maria Bjorklund, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Be Playful” by Maria Bjorklund, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/080_david_baillie-800x626.jpg\" alt='\"Put It Live\" by David Baillie, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Put It Live” by David Baillie, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/041_dave_mckean-800x626.jpg\" alt='\"Give Mindfully\" by Dave McKean, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Give Mindfully” by Dave McKean, 2017\u003c/figcaption>\u003c/figure>\n\u003cp>See more at \u003cem>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can comic artists change the world? Well, you could ask Daniel Clowes how his \u003ca href=\"https://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">boycott of the Grand Prix d’Angouleme\u003c/a> turned out. Or you could take action yourself and see what happens.\u003c/p>\n\u003cp>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a> is propelled by the notion that if you want to become politically active, nothing’s stopping you. The website provides 365 concrete actions for any budding activist, even those with little free time or money. Many are basic and easy, such as a \u003ca href=\"https://drawthelinecomics.com/2017/02/05/the-cheap-stuff-actions-you-can-take-with-just-a-small-budget/\" target=\"_blank\" rel=\"noopener\">starting a collection for food banks\u003c/a> and reporting fake news on social media. Some of the suggestions are even geared towards kids. All are accompanied by illustrations from comic artists all over the world. \u003c/p>\n\u003cp>Wanting to take action herself, the idea behind Draw The Line came to British comic publisher Myfanwy Nixon while on a jog. As soon as she returned home, she jumped on the computer and began reaching out to artists. Within hours, she had around 140 artists lined up and was soliciting ideas for actions to illustrate \u003ca href=\"https://www.facebook.com/mockduck/posts/10153774168531735?pnref=story\" target=\"_blank\" rel=\"noopener\">on social media\u003c/a>.\u003c/p>\n\u003cp>Initially Nixon planned to print a small pamphlet featuring all 365 actions, but she now hopes to have them printed in something more substantial and with wide distribution.\u003c/p>\n\u003cp>\u003ci>Here are a few examples of the illustrations on Draw The Line:\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12916823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/118_christine_wong-800x626.jpg\" alt='\"Click the Triangle\" by Christine Wong, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Click the Triangle” by Christine Wong, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-800x626.jpg\" alt='\"Be Playful\" by Maria Bjorklund, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Be Playful” by Maria Bjorklund, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/080_david_baillie-800x626.jpg\" alt='\"Put It Live\" by David Baillie, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Put It Live” by David Baillie, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/041_dave_mckean-800x626.jpg\" alt='\"Give Mindfully\" by Dave McKean, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Give Mindfully” by Dave McKean, 2017\u003c/figcaption>\u003c/figure>\n\u003cp>See more at \u003cem>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Legendary musician Chuck Berry, who was central to the development of rock and roll beginning in the ’50s with indelible hits like “Roll Over Beethoven,” “Rock and Roll Music” and “Johnny B. Goode,” died today in St. Charles County, Mo. He was 90 years old. His death was \u003ca href=\"https://www.facebook.com/StCharlesCountyPD/photos/a.998185063528269.1073741828.747396211940490/1628233677190068/?type=3&theater\">confirmed\u003c/a> by the St. Charles County Police department.\u003c/p>\n\u003cp>Charles Edward Berry grew up in Saint Louis, Mo. the fourth of six children, developing a career that epitomized a bad-boy image which musicians have tried to cop ever since. Berry was the real thing. He spent time in reform school for robbery at 18 (with a nonfunctional pistol, he claimed), went to prison for income tax evasion and transported a minor across state lines for quote “immoral purposes.”\u003c/p>\n\u003cp>Initially beginning his career as a beautician with an lifelong interest in music, Berry began to slowly ease towards the St. Louis nightlife scene in the early ’50s as a member of the Jonnie Johnson trio. As a solo musician, he emulated the smooth vocals of his idol Nat King Cole and admired the gritty blues of another idol, Muddy Waters. Berry told NPR in 2000 that he met Waters after 1955 show in Chicago, who then directed him to Chess Records. From there, it was history.\u003c/p>\n\u003cp>Berry continued creating well into his later years — his \u003ca href=\"http://www.npr.org/sections/allsongs/2016/10/18/498372781/chuck-berrys-90th-birthday-present-a-new-album\">released a record\u003c/a> last October at the age of 90 following a 38-year hiatus.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/artists/15405854/john-lennon\" target=\"_self\" rel=\"noopener\">John Lennon\u003c/a> once put it, “If you tried to give rock ‘n’ roll another name, you might have called it \u003ca href=\"http://www.npr.org/artists/15131582/chuck-berry\" target=\"_blank\" rel=\"noopener\">Chuck Berry\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story.\u003c/em>\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=Chuck+Berry%2C+Legend+Of+Rock+And+Roll%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Legendary musician Chuck Berry, who was central to the development of rock and roll beginning in the ’50s with indelible hits like “Roll Over Beethoven,” “Rock and Roll Music” and “Johnny B. Goode,” died today in St. Charles County, Mo. He was 90 years old. His death was \u003ca href=\"https://www.facebook.com/StCharlesCountyPD/photos/a.998185063528269.1073741828.747396211940490/1628233677190068/?type=3&theater\">confirmed\u003c/a> by the St. Charles County Police department.\u003c/p>\n\u003cp>Charles Edward Berry grew up in Saint Louis, Mo. the fourth of six children, developing a career that epitomized a bad-boy image which musicians have tried to cop ever since. Berry was the real thing. He spent time in reform school for robbery at 18 (with a nonfunctional pistol, he claimed), went to prison for income tax evasion and transported a minor across state lines for quote “immoral purposes.”\u003c/p>\n\u003cp>Initially beginning his career as a beautician with an lifelong interest in music, Berry began to slowly ease towards the St. Louis nightlife scene in the early ’50s as a member of the Jonnie Johnson trio. As a solo musician, he emulated the smooth vocals of his idol Nat King Cole and admired the gritty blues of another idol, Muddy Waters. Berry told NPR in 2000 that he met Waters after 1955 show in Chicago, who then directed him to Chess Records. From there, it was history.\u003c/p>\n\u003cp>Berry continued creating well into his later years — his \u003ca href=\"http://www.npr.org/sections/allsongs/2016/10/18/498372781/chuck-berrys-90th-birthday-present-a-new-album\">released a record\u003c/a> last October at the age of 90 following a 38-year hiatus.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/artists/15405854/john-lennon\" target=\"_self\" rel=\"noopener\">John Lennon\u003c/a> once put it, “If you tried to give rock ‘n’ roll another name, you might have called it \u003ca href=\"http://www.npr.org/artists/15131582/chuck-berry\" target=\"_blank\" rel=\"noopener\">Chuck Berry\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Chuck Berry, rock ‘n’ roll’s founding guitar hero and storyteller who defined the music’s joy and rebellion in such classics as “Johnny B. Goode,” “Sweet Little Sixteen” and “Roll Over Beethoven,” died Saturday at his home in an unincorporated area west of St. Louis. He was 90.\u003c/p>\n\u003cp>Emergency responders summoned to Berry’s residence by his caretaker about 12:40 p.m. found him unresponsive, police in Missouri’s St. Charles County said in a statement. Attempts to revive Berry failed, and he was pronounced shortly before 1:30 p.m., police said.\u003c/p>\n\u003cp>A police spokeswoman, Val Joyner, told The Associated Press she had no additional details about the death of Berry, calling him “really a legend.”\u003c/p>\n\u003cp>Having found a way to play the pumping rhythms of jumping R&B on the guitar (instead of a piano and saxophone,) Berry developed a unique style of guitar playing that became his signature. His solos were accentuated with bent notes that seemed to scream, and movements that seemed to capitalize on his sense of humor, like his opened-mouth gawking at the audience and his long tradition of “duck-walking,” which guitarists like ACDC’s Angus Young would later borrow.\u003c/p>\n\u003cp>\u003ci>Watch Chuck Berry play “No Particular Place to Go” in the 1960s.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cpitvLeNjuE\u003c/p>\n\u003cp>Berry’s core repertoire was some three dozen songs, his influence incalculable, from the Beatles and the Rolling Stones to virtually any group from garage band to arena act that called itself rock ‘n roll. While Elvis Presley gave rock its libidinous, hip-shaking image, Berry was the auteur, setting the template for a new sound and way of life. Well before the rise of Bob Dylan, Berry wedded social commentary to the beat and rush of popular music.\u003c/p>\n\u003cp>“He was singing good lyrics, and intelligent lyrics, in the ’50s when people were singing, “Oh, baby, I love you so,'” John Lennon once observed.\u003cbr>\nBerry, in his late 20s before his first major hit, crafted lyrics that spoke to the teenagers of the day and remained fresh decades later. “Sweet Little Sixteen” captured rock ‘n’ roll fandom, an early and innocent ode to the young girls later known as “groupies.” ”School Day” told of the sing-song trials of the classroom (“American history and practical math; you’re studying hard, hoping to pass…”) and the liberation of rock ‘n’ roll once the day’s final bell rang.\u003c/p>\n\u003cp>“Roll Over Beethoven” was an anthem to rock’s history-making power, while “Rock and Roll Music” was a guidebook for all bands that followed (“It’s got a back beat, you can’t lose it”). “Back in the U.S.A.” was a black man’s straight-faced tribute to his country at a time there was no guarantee Berry would be served at the drive-ins and corner cafes he was celebrating.\u003c/p>\n\u003cp>“Everything I wrote about wasn’t about me, but about the people listening,” he once said.\u003c/p>\n\u003cp>“Johnny B. Goode,” the tale of a guitar-playing country boy whose mother tells him he’ll be a star, was Berry’s signature song, the archetypal narrative for would-be rockers and among the most ecstatic recordings in the music’s history. Berry can hardly contain himself as the words hurry out (“Deep down Louisiana close to New Orleans/Way back up in the woods among the evergreens”) and the downpour of guitar, drums and keyboards amplifies every call of “Go, Johnny Go!”\u003c/p>\n\u003cp>The song was inspired in part by Johnnie Johnson, the boogie-woogie piano master who collaborated on many Berry hits, but the story could have easily been Berry’s, Presley’s or countless others’. Commercial calculation made the song universal: Berry had meant to call Johnny a “colored boy,” but changed “colored” to “country,” enabling not only radio play, but musicians of any color to imagine themselves as stars.\u003c/p>\n\u003cp>“Chances are you have talent,” Berry later wrote of the song. “But will the name and the light come to you? No! You have to go!”\u003c/p>\n\u003cp>“Johnny B. Goode” could have only been a guitarist. The guitar was rock ‘n’ roll’s signature instrument and Berry’s clarion sound, a melting pot of country flash and rhythm ‘n blues drive, turned on at least a generation of musicians, among them the Rolling Stones’ Keith Richards, who once acknowledged he had “lifted every lick” from his hero; the Beatles’ George Harrison; Bruce Springsteen; and the Who’s Pete Townshend.\u003c/p>\n\u003cp>When NASA launched the unmanned Voyager I in 1977, an album was stored on the craft that would explain music on Earth to extraterrestrials. The one rock song included was “Johnny B. Goode.”\u003c/p>\n\u003cp>Charles Edward Anderson Berry was born in St. Louis on Oct. 18, 1926. As a child he practiced a bent-leg stride that enabled him to slip under tables, a prelude to the duck walk of his adult years. His mother, like Johnny B. Goode’s, told him he would make it, and make it big.\u003c/p>\n\u003cp>A fan of blues, swing and boogie woogie, Berry studied the very mechanics of music and how it was transmitted. As a teenager, he loved to take radios apart and put them back together. Using a Nick Manoloff guitar chord book, he learned how to play the hits of the time. He was fascinated by chord progressions and rhythms, discovering that many songs borrowed heavily from the Gershwins’ “I Got Rhythm.”\u003c/p>\n\u003cp>He began his musical career at age 15 when he went on stage at a high school review to do his own version of Jay McShann’s “Confessin’ the Blues.” Berry would never forget the ovation he received.\u003c/p>\n\u003cp>“Long did the encouragement of that performance assist me in programming my songs and even their delivery while performing,” he wrote in his autobiography. “I added and deleted according to the audiences’ response to different gestures, and chose songs to build an act that would constantly stimulate my audience.”\u003c/p>\n\u003cp>Meanwhile, his troubles with the law began, in 1944, when a joy riding trip to Kansas City turned into a crime spree involving armed robberies and car theft. Berry served three years of a 10-year sentence at a reformatory.\u003c/p>\n\u003cp>A year after his October 1947 release, Berry met and married Themetta Suggs, who stayed by his side despite some of his well-publicized indiscretions. Berry then started sitting in with local bands. By 1950, he had graduated to a six-string electric guitar and was making his own crude recordings on a reel to reel machine.\u003c/p>\n\u003cp>On New Year’s Eve 1952 at The Cosmopolitan club in East St. Louis, Illinois, Johnson called Berry to fill in for an ailing saxophonist in his Sir John Trio.\u003c/p>\n\u003cp>“He gave me a break” and his first commercial gig, for $4, Berry later recalled. “I was excited. My best turned into a mess. I stole the group from Johnnie.”\u003c/p>\n\u003cp>Influenced by bandleader Louis Jourdan, blues guitarist T-Bone Walker and jazz man Charlie Christian, but also hip to country music, novelty songs and the emerging teen audiences of the post-World War II era, Berry signed with Chicago’s Chess Records in 1955. “Maybellene” reworked the country song “Ida Red” and rose into the top 10 of the national pop charts, a rare achievement for a black artist at that time. According to Berry, label owner Leonard Chess was taken by the novelty of a “hillbilly song sung by a black man,” an inversion of Presley’s covers of blues songs.\u003c/p>\n\u003cp>Several hits followed, including “Roll Over Beethoven,” ”School Day” and “Sweet Little Sixteen.” Among his other songs: “Too Much Monkey Business,” “Nadine,” ”No Particular Place To Go,” “Almost Grown” and the racy novelty number “My Ding-A-Ling,” which topped the charts in 1972.\u003c/p>\n\u003cp>Berry also appeared in a dozen movies, doing his distinctive bent-legged “duck-walk” in several teen exploitation flicks of the ’50s. Richards organized the well-received 1987 documentary “Hail! Hail! Rock ‘n’ Roll,” a concert at St. Louis’ Fox Theatre to celebrate Berry’s 60th birthday. It featured Eric Clapton, Little Richard and Jerry Lee Lewis, who recalled being told by his own mother that Berry, not he, was the true king of rock ‘n’ roll.\u003c/p>\n\u003cp>\u003ci>John Lennon and Chuck Berry play “Johnny B. Goode\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kpTpxbnBWYM\u003c/p>\n\u003cp>Country, pop and rock artists have recorded Berry songs, including the Beatles (“Roll Over Beethoven”), Emmylou Harris (“You Never Can Tell”), Buck Owens (“Johnny B. Goode”) and AC/DC (“School Days”). The Rolling Stones’ first single was a cover of Berry’s “Come On” and they went on to perform and record “Around and Around,” ”Let it Rock” and others. Berry riffs pop up in countless songs, from the Stones’ ravenous “Brown Sugar” to the Eagles’ mellow country-rock ballad “Peaceful Easy Feeling.”\u003c/p>\n\u003cp>Some stars covered him too well. The Beach Boys borrowed the melody of “Sweet Little Sixteen” for their surf anthem “Surfin’ U.S.A.” without initially crediting Berry. The Beatles’ “Come Together,” written by John Lennon, was close enough to Berry’s “You Can’t Catch Me” to inspire a lawsuit by music publisher Morris Levy. In an out of court settlement, Lennon agreed to record “You Can’t Catch Me” for his 1975 “Rock n’ Roll” album.\u003c/p>\n\u003cp>Berry himself was accused of theft. In 2000, Johnson sued Berry over royalties and credit he believed he was due for the songs they composed together over more than 20 years of collaboration. The lawsuit was dismissed two years later, but Richards was among those who believed Johnson had been cheated, writing in his memoir “Life” that Johnson set up the arrangements for Berry and was so essential to the music that many of Berry’s songs were recorded in keys more suited for the piano.\u003c/p>\n\u003cp>Openly money-minded, Berry was an entrepreneur with a St. Louis nightclub and, in a small town west of there, property he dubbed Berry Park, which included a home, guitar-shaped swimming pool, restaurant, cottages and concert venue. He declined to have a regular band and instead used local musicians, willing to work cheap. Springsteen was among those who had an early gig backing Berry.\u003c/p>\n\u003cp>Burned by an industry that demanded a share of his songwriting credits, Berry was deeply suspicious of even his admirers, as anybody could tell from watching him give Richards the business in “Hail! Hail! Rock ‘n’ Roll.” For the movie’s concerts, he confounded Richards by playing songs in different keys and tempos than they had been in rehearsal. Richards would recall turning to his fellow musicians and shrugging, “Wing it, boys.”\u003c/p>\n\u003cp>Berry’s career nearly ended decades earlier, when he was indicted for violating the Mann Act, which barred transportation of a minor across state lines for “immoral purposes.” An all-white jury found him guilty in 1960, but the charges were vacated after the judge made racist comments. A trial in 1961 led to his serving 1 1/2 years of a three-year term. Berry continued to record after getting out, and his legacy was duly honored by the Beatles and the Stones, but his hit-making days were essentially over.\u003c/p>\n\u003cp>“Down from stardom/then I fell/to this lowly prison cell,” Berry wrote as his jail time began.\u003c/p>\n\u003cp>Tax charges came in 1979, and another three-year prison sentence, all but 120 days of which was suspended. Some former female employees later sued him for allegedly videotaping them in the bathroom of his restaurant. The cases were settled in 1994, after Berry paid $1.3 million.\u003c/p>\n\u003cp>“Every 15 years, in fact, it seems I make a big mistake,” Berry acknowledged in his memoir.\u003c/p>\n\u003cp>Still, echoing the lyrics of “Back in the U.S.A.,” he said: “There’s no other place I would rather live, including Africa, than America. I believe in the system.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Kevin L. Jones contributed to this report.\u003c/i> \u003c/p>\n\n",
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"headline": "Rock 'N' Roll Legend Chuck Berry Dies at 90",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chuck Berry, rock ‘n’ roll’s founding guitar hero and storyteller who defined the music’s joy and rebellion in such classics as “Johnny B. Goode,” “Sweet Little Sixteen” and “Roll Over Beethoven,” died Saturday at his home in an unincorporated area west of St. Louis. He was 90.\u003c/p>\n\u003cp>Emergency responders summoned to Berry’s residence by his caretaker about 12:40 p.m. found him unresponsive, police in Missouri’s St. Charles County said in a statement. Attempts to revive Berry failed, and he was pronounced shortly before 1:30 p.m., police said.\u003c/p>\n\u003cp>A police spokeswoman, Val Joyner, told The Associated Press she had no additional details about the death of Berry, calling him “really a legend.”\u003c/p>\n\u003cp>Having found a way to play the pumping rhythms of jumping R&B on the guitar (instead of a piano and saxophone,) Berry developed a unique style of guitar playing that became his signature. His solos were accentuated with bent notes that seemed to scream, and movements that seemed to capitalize on his sense of humor, like his opened-mouth gawking at the audience and his long tradition of “duck-walking,” which guitarists like ACDC’s Angus Young would later borrow.\u003c/p>\n\u003cp>\u003ci>Watch Chuck Berry play “No Particular Place to Go” in the 1960s.\u003c/i>\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/cpitvLeNjuE'\n title='//www.youtube.com/embed/cpitvLeNjuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Berry’s core repertoire was some three dozen songs, his influence incalculable, from the Beatles and the Rolling Stones to virtually any group from garage band to arena act that called itself rock ‘n roll. While Elvis Presley gave rock its libidinous, hip-shaking image, Berry was the auteur, setting the template for a new sound and way of life. Well before the rise of Bob Dylan, Berry wedded social commentary to the beat and rush of popular music.\u003c/p>\n\u003cp>“He was singing good lyrics, and intelligent lyrics, in the ’50s when people were singing, “Oh, baby, I love you so,'” John Lennon once observed.\u003cbr>\nBerry, in his late 20s before his first major hit, crafted lyrics that spoke to the teenagers of the day and remained fresh decades later. “Sweet Little Sixteen” captured rock ‘n’ roll fandom, an early and innocent ode to the young girls later known as “groupies.” ”School Day” told of the sing-song trials of the classroom (“American history and practical math; you’re studying hard, hoping to pass…”) and the liberation of rock ‘n’ roll once the day’s final bell rang.\u003c/p>\n\u003cp>“Roll Over Beethoven” was an anthem to rock’s history-making power, while “Rock and Roll Music” was a guidebook for all bands that followed (“It’s got a back beat, you can’t lose it”). “Back in the U.S.A.” was a black man’s straight-faced tribute to his country at a time there was no guarantee Berry would be served at the drive-ins and corner cafes he was celebrating.\u003c/p>\n\u003cp>“Everything I wrote about wasn’t about me, but about the people listening,” he once said.\u003c/p>\n\u003cp>“Johnny B. Goode,” the tale of a guitar-playing country boy whose mother tells him he’ll be a star, was Berry’s signature song, the archetypal narrative for would-be rockers and among the most ecstatic recordings in the music’s history. Berry can hardly contain himself as the words hurry out (“Deep down Louisiana close to New Orleans/Way back up in the woods among the evergreens”) and the downpour of guitar, drums and keyboards amplifies every call of “Go, Johnny Go!”\u003c/p>\n\u003cp>The song was inspired in part by Johnnie Johnson, the boogie-woogie piano master who collaborated on many Berry hits, but the story could have easily been Berry’s, Presley’s or countless others’. Commercial calculation made the song universal: Berry had meant to call Johnny a “colored boy,” but changed “colored” to “country,” enabling not only radio play, but musicians of any color to imagine themselves as stars.\u003c/p>\n\u003cp>“Chances are you have talent,” Berry later wrote of the song. “But will the name and the light come to you? No! You have to go!”\u003c/p>\n\u003cp>“Johnny B. Goode” could have only been a guitarist. The guitar was rock ‘n’ roll’s signature instrument and Berry’s clarion sound, a melting pot of country flash and rhythm ‘n blues drive, turned on at least a generation of musicians, among them the Rolling Stones’ Keith Richards, who once acknowledged he had “lifted every lick” from his hero; the Beatles’ George Harrison; Bruce Springsteen; and the Who’s Pete Townshend.\u003c/p>\n\u003cp>When NASA launched the unmanned Voyager I in 1977, an album was stored on the craft that would explain music on Earth to extraterrestrials. The one rock song included was “Johnny B. Goode.”\u003c/p>\n\u003cp>Charles Edward Anderson Berry was born in St. Louis on Oct. 18, 1926. As a child he practiced a bent-leg stride that enabled him to slip under tables, a prelude to the duck walk of his adult years. His mother, like Johnny B. Goode’s, told him he would make it, and make it big.\u003c/p>\n\u003cp>A fan of blues, swing and boogie woogie, Berry studied the very mechanics of music and how it was transmitted. As a teenager, he loved to take radios apart and put them back together. Using a Nick Manoloff guitar chord book, he learned how to play the hits of the time. He was fascinated by chord progressions and rhythms, discovering that many songs borrowed heavily from the Gershwins’ “I Got Rhythm.”\u003c/p>\n\u003cp>He began his musical career at age 15 when he went on stage at a high school review to do his own version of Jay McShann’s “Confessin’ the Blues.” Berry would never forget the ovation he received.\u003c/p>\n\u003cp>“Long did the encouragement of that performance assist me in programming my songs and even their delivery while performing,” he wrote in his autobiography. “I added and deleted according to the audiences’ response to different gestures, and chose songs to build an act that would constantly stimulate my audience.”\u003c/p>\n\u003cp>Meanwhile, his troubles with the law began, in 1944, when a joy riding trip to Kansas City turned into a crime spree involving armed robberies and car theft. Berry served three years of a 10-year sentence at a reformatory.\u003c/p>\n\u003cp>A year after his October 1947 release, Berry met and married Themetta Suggs, who stayed by his side despite some of his well-publicized indiscretions. Berry then started sitting in with local bands. By 1950, he had graduated to a six-string electric guitar and was making his own crude recordings on a reel to reel machine.\u003c/p>\n\u003cp>On New Year’s Eve 1952 at The Cosmopolitan club in East St. Louis, Illinois, Johnson called Berry to fill in for an ailing saxophonist in his Sir John Trio.\u003c/p>\n\u003cp>“He gave me a break” and his first commercial gig, for $4, Berry later recalled. “I was excited. My best turned into a mess. I stole the group from Johnnie.”\u003c/p>\n\u003cp>Influenced by bandleader Louis Jourdan, blues guitarist T-Bone Walker and jazz man Charlie Christian, but also hip to country music, novelty songs and the emerging teen audiences of the post-World War II era, Berry signed with Chicago’s Chess Records in 1955. “Maybellene” reworked the country song “Ida Red” and rose into the top 10 of the national pop charts, a rare achievement for a black artist at that time. According to Berry, label owner Leonard Chess was taken by the novelty of a “hillbilly song sung by a black man,” an inversion of Presley’s covers of blues songs.\u003c/p>\n\u003cp>Several hits followed, including “Roll Over Beethoven,” ”School Day” and “Sweet Little Sixteen.” Among his other songs: “Too Much Monkey Business,” “Nadine,” ”No Particular Place To Go,” “Almost Grown” and the racy novelty number “My Ding-A-Ling,” which topped the charts in 1972.\u003c/p>\n\u003cp>Berry also appeared in a dozen movies, doing his distinctive bent-legged “duck-walk” in several teen exploitation flicks of the ’50s. Richards organized the well-received 1987 documentary “Hail! Hail! Rock ‘n’ Roll,” a concert at St. Louis’ Fox Theatre to celebrate Berry’s 60th birthday. It featured Eric Clapton, Little Richard and Jerry Lee Lewis, who recalled being told by his own mother that Berry, not he, was the true king of rock ‘n’ roll.\u003c/p>\n\u003cp>\u003ci>John Lennon and Chuck Berry play “Johnny B. Goode\u003c/i>\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/kpTpxbnBWYM'\n title='//www.youtube.com/embed/kpTpxbnBWYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Country, pop and rock artists have recorded Berry songs, including the Beatles (“Roll Over Beethoven”), Emmylou Harris (“You Never Can Tell”), Buck Owens (“Johnny B. Goode”) and AC/DC (“School Days”). The Rolling Stones’ first single was a cover of Berry’s “Come On” and they went on to perform and record “Around and Around,” ”Let it Rock” and others. Berry riffs pop up in countless songs, from the Stones’ ravenous “Brown Sugar” to the Eagles’ mellow country-rock ballad “Peaceful Easy Feeling.”\u003c/p>\n\u003cp>Some stars covered him too well. The Beach Boys borrowed the melody of “Sweet Little Sixteen” for their surf anthem “Surfin’ U.S.A.” without initially crediting Berry. The Beatles’ “Come Together,” written by John Lennon, was close enough to Berry’s “You Can’t Catch Me” to inspire a lawsuit by music publisher Morris Levy. In an out of court settlement, Lennon agreed to record “You Can’t Catch Me” for his 1975 “Rock n’ Roll” album.\u003c/p>\n\u003cp>Berry himself was accused of theft. In 2000, Johnson sued Berry over royalties and credit he believed he was due for the songs they composed together over more than 20 years of collaboration. The lawsuit was dismissed two years later, but Richards was among those who believed Johnson had been cheated, writing in his memoir “Life” that Johnson set up the arrangements for Berry and was so essential to the music that many of Berry’s songs were recorded in keys more suited for the piano.\u003c/p>\n\u003cp>Openly money-minded, Berry was an entrepreneur with a St. Louis nightclub and, in a small town west of there, property he dubbed Berry Park, which included a home, guitar-shaped swimming pool, restaurant, cottages and concert venue. He declined to have a regular band and instead used local musicians, willing to work cheap. Springsteen was among those who had an early gig backing Berry.\u003c/p>\n\u003cp>Burned by an industry that demanded a share of his songwriting credits, Berry was deeply suspicious of even his admirers, as anybody could tell from watching him give Richards the business in “Hail! Hail! Rock ‘n’ Roll.” For the movie’s concerts, he confounded Richards by playing songs in different keys and tempos than they had been in rehearsal. Richards would recall turning to his fellow musicians and shrugging, “Wing it, boys.”\u003c/p>\n\u003cp>Berry’s career nearly ended decades earlier, when he was indicted for violating the Mann Act, which barred transportation of a minor across state lines for “immoral purposes.” An all-white jury found him guilty in 1960, but the charges were vacated after the judge made racist comments. A trial in 1961 led to his serving 1 1/2 years of a three-year term. Berry continued to record after getting out, and his legacy was duly honored by the Beatles and the Stones, but his hit-making days were essentially over.\u003c/p>\n\u003cp>“Down from stardom/then I fell/to this lowly prison cell,” Berry wrote as his jail time began.\u003c/p>\n\u003cp>Tax charges came in 1979, and another three-year prison sentence, all but 120 days of which was suspended. Some former female employees later sued him for allegedly videotaping them in the bathroom of his restaurant. The cases were settled in 1994, after Berry paid $1.3 million.\u003c/p>\n\u003cp>“Every 15 years, in fact, it seems I make a big mistake,” Berry acknowledged in his memoir.\u003c/p>\n\u003cp>Still, echoing the lyrics of “Back in the U.S.A.,” he said: “There’s no other place I would rather live, including Africa, than America. I believe in the system.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Building the Wall' Imagines Post-Trump Dystopia",
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"headTitle": "‘Building the Wall’ Imagines Post-Trump Dystopia | KQED",
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"content": "\u003cp>It’s the year 2019. President Trump may or may not still be the president. His immigration policies, however, have been carried out — to an extreme. And at least one person is paying the price.\u003c/p>\n\u003cp>That’s the backdrop of playwright Robert Schenkkan’s latest stage work, “\u003ca href=\"https://www.youtube.com/watch?v=M0vV_aJ2xzA&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">Building the Wall\u003c/a>.”\u003c/p>\n\u003cp>We first meet Rick, played by Bo Foxworth, inside a federal lockup. He’s a military veteran who grew up in Texas. Now he’s a prisoner.\u003c/p>\n\u003cp>“I don’t have anybody to talk to in here,” he says to the play’s other main protagonist, Gloria, played by Judith Moreland.\u003c/p>\n\u003cp>“You’re in solitary, yes?” asks Gloria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For my own protection,” responds Rick.\u003c/p>\n\u003cfigure id=\"attachment_11363907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4.jpg 1800w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of “Building the Wall.” \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rick used to work in a place just like this: a private prison on the Tex-Mex border housing scores of immigrants rounded up under the Trump administration. He was the warden, and some very bad things happened on his watch.\u003c/p>\n\u003cp>“There’s nothing really extraordinary about him except the circumstances in which he finds himself and the choices he sadly makes,” says\u003ca href=\"http://www.robertschenkkan.com/\"> Schenkkan\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11363910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363910\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg\" alt=\"Playwright Robert Schenkkan \" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016.jpg 1666w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Robert Schenkkan \u003ccite>(Robert Schenkkan )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the character of Rick, Schenkkan also grew up in Texas. He is probably best known for his \u003ca href=\"http://www.pulitzer.org/winners/robert-schenkkan\">Pulitzer Prize\u003c/a>-winning saga, “The Kentucky Cycle,” and for screenwriting credits that include films like “The Quiet American” and 2016’s Academy Award-nominated “Hacksaw Ridge” — projects that typically have long gestation and production periods. To find more exciting stories that you can read online, you may explore sites like \u003ca href=\"https://my-drama.com/\">my-drama.com\u003c/a>.\u003c/p>\n\u003cp>But Schenkkan says “Building the Wall” came on fast.\u003c/p>\n\u003cp>“I wrote this before the (November) election in what I describe as a white-hot fury in the space of a week,” says Schenkkan, speaking in the upstairs cafe at the \u003ca href=\"http://www.fountaintheatre.com/event/building-the-wall/\" target=\"_blank\" rel=\"noopener\">Fountain Theatre\u003c/a> in Hollywood where the 90-minute play is premiering.\u003c/p>\n\u003cp>Schenkkan says he was spurred on by the anti-immigrant rhetoric and policies of Donald Trump. But it was written more as a warning, a cautionary tale that imagines what could happen if a man like Donald Trump actually became president and successfully carried out his most extreme immigration policies. But like many people, Schenkkan didn’t really think Trump would win.\u003c/p>\n\u003cp>Unlike previous works like “The Kentucky Cycle” that require large ensemble casts, “Building the Wall” is the epitome of theater minimalism: one room, two characters.\u003c/p>\n\u003cp>“It only needed these two people,” says Schenkkan.\u003c/p>\n\u003cfigure id=\"attachment_11363979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363979\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’ \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Out of that we feel an entire world of individuals caught up by events. But it is not necessary for us to see those events or to visit with those people.”\u003c/p>\n\u003cp>The drama revolves around Rick and a historian named Gloria, whom he’s agreed to speak with about the events that led to his conviction.\u003c/p>\n\u003cp>We learn more about both as they question each other’s motives and beliefs. He’s white, she’s black. She didn’t support Donald Trump. He did.\u003c/p>\n\u003cp>In one scene, Rick rapturously describes attending his first Trump campaign rally.\u003c/p>\n\u003cp>“It was like being part of a wave or something. Bigger than yourself. You didn’t feel little anymore, put down anymore, shamed.”\u003c/p>\n\u003cp>But Gloria wants to know: What about the violence and threats of violence that often punctuated Trump rallies?\u003c/p>\n\u003cp>“Protesters getting beaten up?” she asks\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Those guys were there to provoke people and they succeeded,” snorts Rick. “The whole thing was like, I don’t know, a pro-wrestling kinda thing!”\u003c/p>\n\u003cp>“Some people got hurt,” says Gloria.\u003c/p>\n\u003cp>“Nobody died,” says Rick.\u003c/p>\n\u003cp>“No,” says Gloria. “That would come later.”\u003c/p>\n\u003cfigure id=\"attachment_11363983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11363983 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg\" alt=\"building wall actors 3\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>Later. Just what did happen \u003cem>later\u003c/em>?\u003c/p>\n\u003cp>We learn details of Rick’s crimes as the drama unfolds. His attorney told him not to testify at trial. Now he wants to set the record straight, wants to tell people he’s not some kind of monster. And apparently that he did not act alone.\u003c/p>\n\u003cp>“I saw things,” says Rick gravely. “I know stuff that’ll make a lot of people look bad.”\u003c/p>\n\u003cp>Rick chooses the historian Gloria as his confessor. The atrocities are of historic proportion.\u003c/p>\n\u003cp>“Before this play is over we may still have some judgments, but we understand him in a very different way,” says director \u003ca href=\"http://www.bostoncourt.com/staff\" target=\"_blank\" rel=\"noopener\">Michael Michetti. \u003c/a>\u003c/p>\n\u003cp>Michetti jumped at the chance to work with a Robert Schenkkan script that he believes is so timely. He also says it’s not a partisan diatribe against Trump. It takes on themes of race, class and reconciliation.\u003c/p>\n\u003cp>“Robert gives a real voice to the people who we now know felt very underrepresented, and therefore they supported Trump’s candidacy and presidency,” says Michetti.\u003c/p>\n\u003cp>“The character of Rick has to answer a very important question and that is: When is it time to say no?” says producer and Fountain Theatre artistic director \u003ca href=\"http://www.stephensachs.com/\" target=\"_blank\" rel=\"noopener\">Stephen Sachs\u003c/a>. “When is it time to stand up and say, ‘I will not do this. I will not follow orders.’ ”\u003c/p>\n\u003cp>To make room for the play’s three-month run, the Fountain Theatre preempted another previously scheduled performance. The cast and staging, like the script, were assembled fast — in a matter of weeks.\u003c/p>\n\u003cp>“Oh, it’s extraordinary,” says Sachs. “This does not happen.”\u003c/p>\n\u003cp>On the afternoon I visit the Fountain, the set is still being painted, actors deep in rehearsal. Schenkkan says it typically takes months, if not years, to take a work from the page to the stage.\u003c/p>\n\u003cp>“It will be too late by then! American theater today has to decide: Are we curating history or we going to make history? Are we going to be involved in what is happening right now?” asks Schenkkan.\u003c/p>\n\u003cp>“This play has been designed to be the first of what I hope will be many such new paradigms for the production and creation of responsive American theater.”\u003c/p>\n\u003cp>“Building the Wall” premieres this weekend at the Fountain Theatre in Hollywood. Theaters in five other U.S. cities will stage performances of their own as part of a “rolling premiere” in collaboration with the \u003ca href=\"http://nnpn.org/\" target=\"_blank\" rel=\"noopener\">National New Play Network\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>“Building the Wall” is also due to be published in book form in April.\u003c/p>\n\u003cp>“We are now aggressively licensing the play to anyone who wants to do it. Whether they want to do a production or they want to do a reading, it doesn’t matter,” says Schenkkan.\u003c/p>\n\u003cp>“You want to do this play for 20 people in your living room? God bless, go out there and do it. Let’s respond now.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">The National New Play Network’s “rolling world premiere” of Robert Schenkkan’s “Building the Wall”:\u003c/span>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">Los Angeles – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://www.fountaintheatre.com/\">The Fountain Theat\u003c/a>re\u003c/u> – March 18, 2017. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"color: #000000\">Denver – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://curioustheatre.org/\">The Curious Theat\u003c/a>re Co.\u003c/u> – April 4. Washington, D.C. – \u003ca style=\"color: #000000\" href=\"https://forum-theatre.org/\">\u003cu>Forum Theatre/at Arena Stage\u003c/u>\u003c/a> – April 30. Santa Fe – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://adoberosetheatre.org/\">Adobe Rose Theat\u003c/a>re\u003c/u> – June 15. Tucson – \u003ca style=\"color: #000000\" href=\"http://www.robertschenkkan.com/www.borderlandstheater.org/\">\u003cu>Borderlands Theater\u003c/u>\u003c/a> – Sept. 1. Miami – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"https://www.citytheatre.com/\">City Theat\u003c/a>re\u003c/u> – Sept. 29\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the year 2019. President Trump may or may not still be the president. His immigration policies, however, have been carried out — to an extreme. And at least one person is paying the price.\u003c/p>\n\u003cp>That’s the backdrop of playwright Robert Schenkkan’s latest stage work, “\u003ca href=\"https://www.youtube.com/watch?v=M0vV_aJ2xzA&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">Building the Wall\u003c/a>.”\u003c/p>\n\u003cp>We first meet Rick, played by Bo Foxworth, inside a federal lockup. He’s a military veteran who grew up in Texas. Now he’s a prisoner.\u003c/p>\n\u003cp>“I don’t have anybody to talk to in here,” he says to the play’s other main protagonist, Gloria, played by Judith Moreland.\u003c/p>\n\u003cp>“You’re in solitary, yes?” asks Gloria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For my own protection,” responds Rick.\u003c/p>\n\u003cfigure id=\"attachment_11363907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4.jpg 1800w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of “Building the Wall.” \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rick used to work in a place just like this: a private prison on the Tex-Mex border housing scores of immigrants rounded up under the Trump administration. He was the warden, and some very bad things happened on his watch.\u003c/p>\n\u003cp>“There’s nothing really extraordinary about him except the circumstances in which he finds himself and the choices he sadly makes,” says\u003ca href=\"http://www.robertschenkkan.com/\"> Schenkkan\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11363910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363910\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg\" alt=\"Playwright Robert Schenkkan \" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016.jpg 1666w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Robert Schenkkan \u003ccite>(Robert Schenkkan )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the character of Rick, Schenkkan also grew up in Texas. He is probably best known for his \u003ca href=\"http://www.pulitzer.org/winners/robert-schenkkan\">Pulitzer Prize\u003c/a>-winning saga, “The Kentucky Cycle,” and for screenwriting credits that include films like “The Quiet American” and 2016’s Academy Award-nominated “Hacksaw Ridge” — projects that typically have long gestation and production periods. To find more exciting stories that you can read online, you may explore sites like \u003ca href=\"https://my-drama.com/\">my-drama.com\u003c/a>.\u003c/p>\n\u003cp>But Schenkkan says “Building the Wall” came on fast.\u003c/p>\n\u003cp>“I wrote this before the (November) election in what I describe as a white-hot fury in the space of a week,” says Schenkkan, speaking in the upstairs cafe at the \u003ca href=\"http://www.fountaintheatre.com/event/building-the-wall/\" target=\"_blank\" rel=\"noopener\">Fountain Theatre\u003c/a> in Hollywood where the 90-minute play is premiering.\u003c/p>\n\u003cp>Schenkkan says he was spurred on by the anti-immigrant rhetoric and policies of Donald Trump. But it was written more as a warning, a cautionary tale that imagines what could happen if a man like Donald Trump actually became president and successfully carried out his most extreme immigration policies. But like many people, Schenkkan didn’t really think Trump would win.\u003c/p>\n\u003cp>Unlike previous works like “The Kentucky Cycle” that require large ensemble casts, “Building the Wall” is the epitome of theater minimalism: one room, two characters.\u003c/p>\n\u003cp>“It only needed these two people,” says Schenkkan.\u003c/p>\n\u003cfigure id=\"attachment_11363979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363979\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’ \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Out of that we feel an entire world of individuals caught up by events. But it is not necessary for us to see those events or to visit with those people.”\u003c/p>\n\u003cp>The drama revolves around Rick and a historian named Gloria, whom he’s agreed to speak with about the events that led to his conviction.\u003c/p>\n\u003cp>We learn more about both as they question each other’s motives and beliefs. He’s white, she’s black. She didn’t support Donald Trump. He did.\u003c/p>\n\u003cp>In one scene, Rick rapturously describes attending his first Trump campaign rally.\u003c/p>\n\u003cp>“It was like being part of a wave or something. Bigger than yourself. You didn’t feel little anymore, put down anymore, shamed.”\u003c/p>\n\u003cp>But Gloria wants to know: What about the violence and threats of violence that often punctuated Trump rallies?\u003c/p>\n\u003cp>“Protesters getting beaten up?” she asks\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Those guys were there to provoke people and they succeeded,” snorts Rick. “The whole thing was like, I don’t know, a pro-wrestling kinda thing!”\u003c/p>\n\u003cp>“Some people got hurt,” says Gloria.\u003c/p>\n\u003cp>“Nobody died,” says Rick.\u003c/p>\n\u003cp>“No,” says Gloria. “That would come later.”\u003c/p>\n\u003cfigure id=\"attachment_11363983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11363983 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg\" alt=\"building wall actors 3\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>Later. Just what did happen \u003cem>later\u003c/em>?\u003c/p>\n\u003cp>We learn details of Rick’s crimes as the drama unfolds. His attorney told him not to testify at trial. Now he wants to set the record straight, wants to tell people he’s not some kind of monster. And apparently that he did not act alone.\u003c/p>\n\u003cp>“I saw things,” says Rick gravely. “I know stuff that’ll make a lot of people look bad.”\u003c/p>\n\u003cp>Rick chooses the historian Gloria as his confessor. The atrocities are of historic proportion.\u003c/p>\n\u003cp>“Before this play is over we may still have some judgments, but we understand him in a very different way,” says director \u003ca href=\"http://www.bostoncourt.com/staff\" target=\"_blank\" rel=\"noopener\">Michael Michetti. \u003c/a>\u003c/p>\n\u003cp>Michetti jumped at the chance to work with a Robert Schenkkan script that he believes is so timely. He also says it’s not a partisan diatribe against Trump. It takes on themes of race, class and reconciliation.\u003c/p>\n\u003cp>“Robert gives a real voice to the people who we now know felt very underrepresented, and therefore they supported Trump’s candidacy and presidency,” says Michetti.\u003c/p>\n\u003cp>“The character of Rick has to answer a very important question and that is: When is it time to say no?” says producer and Fountain Theatre artistic director \u003ca href=\"http://www.stephensachs.com/\" target=\"_blank\" rel=\"noopener\">Stephen Sachs\u003c/a>. “When is it time to stand up and say, ‘I will not do this. I will not follow orders.’ ”\u003c/p>\n\u003cp>To make room for the play’s three-month run, the Fountain Theatre preempted another previously scheduled performance. The cast and staging, like the script, were assembled fast — in a matter of weeks.\u003c/p>\n\u003cp>“Oh, it’s extraordinary,” says Sachs. “This does not happen.”\u003c/p>\n\u003cp>On the afternoon I visit the Fountain, the set is still being painted, actors deep in rehearsal. Schenkkan says it typically takes months, if not years, to take a work from the page to the stage.\u003c/p>\n\u003cp>“It will be too late by then! American theater today has to decide: Are we curating history or we going to make history? Are we going to be involved in what is happening right now?” asks Schenkkan.\u003c/p>\n\u003cp>“This play has been designed to be the first of what I hope will be many such new paradigms for the production and creation of responsive American theater.”\u003c/p>\n\u003cp>“Building the Wall” premieres this weekend at the Fountain Theatre in Hollywood. Theaters in five other U.S. cities will stage performances of their own as part of a “rolling premiere” in collaboration with the \u003ca href=\"http://nnpn.org/\" target=\"_blank\" rel=\"noopener\">National New Play Network\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>“Building the Wall” is also due to be published in book form in April.\u003c/p>\n\u003cp>“We are now aggressively licensing the play to anyone who wants to do it. Whether they want to do a production or they want to do a reading, it doesn’t matter,” says Schenkkan.\u003c/p>\n\u003cp>“You want to do this play for 20 people in your living room? God bless, go out there and do it. Let’s respond now.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">The National New Play Network’s “rolling world premiere” of Robert Schenkkan’s “Building the Wall”:\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">Los Angeles – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://www.fountaintheatre.com/\">The Fountain Theat\u003c/a>re\u003c/u> – March 18, 2017. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"color: #000000\">Denver – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://curioustheatre.org/\">The Curious Theat\u003c/a>re Co.\u003c/u> – April 4. Washington, D.C. – \u003ca style=\"color: #000000\" href=\"https://forum-theatre.org/\">\u003cu>Forum Theatre/at Arena Stage\u003c/u>\u003c/a> – April 30. Santa Fe – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://adoberosetheatre.org/\">Adobe Rose Theat\u003c/a>re\u003c/u> – June 15. Tucson – \u003ca style=\"color: #000000\" href=\"http://www.robertschenkkan.com/www.borderlandstheater.org/\">\u003cu>Borderlands Theater\u003c/u>\u003c/a> – Sept. 1. Miami – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"https://www.citytheatre.com/\">City Theat\u003c/a>re\u003c/u> – Sept. 29\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Derek Walcott, Who Wrote of Caribbean Beauty and Bondage, Dies at 87",
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"content": "\u003cp>Derek Walcott’s work explored the beauty of his Caribbean homeland and its brutal colonial history. The prolific, Nobel Prize-winning poet and playwright died Friday at his home in St. Lucia. He was 87.\u003c/p>\n\u003cp>Walcott wrote dozens of books of poetry and plays, among them his epic poem \u003ca href=\"http://www.npr.org/books/titles/511637767/omeros\" target=\"_blank\" rel=\"noopener\">Omeros\u003c/a> and his Obie-winning drama, \u003ca href=\"http://www.npr.org/books/titles/511656297/dream-on-monkey-mountain-and-other-plays\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream on Monkey Mountain.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>For most of his life, Walcott taught poetry at universities in the United States, England and Canada — but his work never strayed far from St. Lucia, the island in the West Indies where he was born.\u003c/p>\n\u003cp>In 1984, when he was teaching at Boston University, Walcott said that a book-length poem like \u003ca href=\"http://www.npr.org/books/titles/511606714/midsummer\" target=\"_blank\" rel=\"noopener\">Midsummer\u003c/a> was a natural extension of the language all around him.\u003c/p>\n\u003cp>“You would get some fantastic syntactical phenomena,” he said in an interview, “You would hear people talking in Barbados in the exact melody as a minor character in Shakespeare. Because here you have a thing that was not immured and preserved and mummified, but a voluble language, very active, very swift, very sharp. And that is going on still in all the languages of the Caribbean. So that you didn’t make yourself a poet — you entered a situation in which there was poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walcott’s father was a poet and a painter. He died when Derek was an infant. His mother was a school teacher who recited Shakespeare to him. He borrowed $200 to publish his first book of poetry when he was 19 and sold it on street corners. Then he attended the University College of the West Indies on a scholarship.\u003c/p>\n\u003cp>“When I went to college — when I read Shakespeare, or Dickens, or Scott I just felt that as a citizen of England, a British citizen, this was as much my heritage as any schoolboy’s,” he said. “That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.”\u003c/p>\n\u003cp>David Biespiel, a literary critic and author of a book on poetry called \u003cem>A Long High Whistle,\u003c/em> says Walcott represented “an elegant West Indies murmur against history’s violent colonial narrative of bondage.”\u003c/p>\n\u003cp>“His poems expose the discrepancy between blooming flowers and sparkling waters with these island economies built on the history of sugar plantations and slavery and forced labor,” Biespiel says. “It’s kind of grandeur mixed in with imprisonment.”\u003c/p>\n\u003cp>In all of his work, Walcott fused his classical education with the language and history of the Caribbean. The result, Biespiel says, was poetry of the highest order. “I think people will be reading Derek Walcott as long as we’ve been reading John Milton.”\u003c/p>\n\u003cp>Walcott said his energy to write came from being part of a generation of Caribbean writers who were the first to describe the world beyond their doorsteps.\u003c/p>\n\u003cp>“I go back to St. Lucia and the exhilaration I feel is not simply the exhilaration of homecoming and of nostalgia,” he said. “It is almost an irritation of feeling: \u003cem>Well, you never got it right. Now you have another chance. Maybe you can try and look harder.\u003c/em>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many would say Derek Walcott did get it right. \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=Derek+Walcott%2C+Who+Wrote+Of+Caribbean+Beauty+And+Bondage%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Derek Walcott’s work explored the beauty of his Caribbean homeland and its brutal colonial history. The prolific, Nobel Prize-winning poet and playwright died Friday at his home in St. Lucia. He was 87.\u003c/p>\n\u003cp>Walcott wrote dozens of books of poetry and plays, among them his epic poem \u003ca href=\"http://www.npr.org/books/titles/511637767/omeros\" target=\"_blank\" rel=\"noopener\">Omeros\u003c/a> and his Obie-winning drama, \u003ca href=\"http://www.npr.org/books/titles/511656297/dream-on-monkey-mountain-and-other-plays\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream on Monkey Mountain.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>For most of his life, Walcott taught poetry at universities in the United States, England and Canada — but his work never strayed far from St. Lucia, the island in the West Indies where he was born.\u003c/p>\n\u003cp>In 1984, when he was teaching at Boston University, Walcott said that a book-length poem like \u003ca href=\"http://www.npr.org/books/titles/511606714/midsummer\" target=\"_blank\" rel=\"noopener\">Midsummer\u003c/a> was a natural extension of the language all around him.\u003c/p>\n\u003cp>“You would get some fantastic syntactical phenomena,” he said in an interview, “You would hear people talking in Barbados in the exact melody as a minor character in Shakespeare. Because here you have a thing that was not immured and preserved and mummified, but a voluble language, very active, very swift, very sharp. And that is going on still in all the languages of the Caribbean. So that you didn’t make yourself a poet — you entered a situation in which there was poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Walcott’s father was a poet and a painter. He died when Derek was an infant. His mother was a school teacher who recited Shakespeare to him. He borrowed $200 to publish his first book of poetry when he was 19 and sold it on street corners. Then he attended the University College of the West Indies on a scholarship.\u003c/p>\n\u003cp>“When I went to college — when I read Shakespeare, or Dickens, or Scott I just felt that as a citizen of England, a British citizen, this was as much my heritage as any schoolboy’s,” he said. “That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.”\u003c/p>\n\u003cp>David Biespiel, a literary critic and author of a book on poetry called \u003cem>A Long High Whistle,\u003c/em> says Walcott represented “an elegant West Indies murmur against history’s violent colonial narrative of bondage.”\u003c/p>\n\u003cp>“His poems expose the discrepancy between blooming flowers and sparkling waters with these island economies built on the history of sugar plantations and slavery and forced labor,” Biespiel says. “It’s kind of grandeur mixed in with imprisonment.”\u003c/p>\n\u003cp>In all of his work, Walcott fused his classical education with the language and history of the Caribbean. The result, Biespiel says, was poetry of the highest order. “I think people will be reading Derek Walcott as long as we’ve been reading John Milton.”\u003c/p>\n\u003cp>Walcott said his energy to write came from being part of a generation of Caribbean writers who were the first to describe the world beyond their doorsteps.\u003c/p>\n\u003cp>“I go back to St. Lucia and the exhilaration I feel is not simply the exhilaration of homecoming and of nostalgia,” he said. “It is almost an irritation of feeling: \u003cem>Well, you never got it right. Now you have another chance. Maybe you can try and look harder.\u003c/em>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many would say Derek Walcott did get it right. \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=Derek+Walcott%2C+Who+Wrote+Of+Caribbean+Beauty+And+Bondage%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\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\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\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\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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