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"title": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zcvQL8_ZP20\u003c/p>\n\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ColFlk7UPZk\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rPgxT-xV2SU\u003c/p>\n\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wRwNUvCXP_8\u003c/p>\n\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ukrJ4QQEh6c\u003c/p>\n\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FDOLKSp2AWU\u003c/p>\n\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zcvQL8_ZP20'\n title='//www.youtube.com/embed/zcvQL8_ZP20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ColFlk7UPZk'\n title='//www.youtube.com/embed/ColFlk7UPZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rPgxT-xV2SU'\n title='//www.youtube.com/embed/rPgxT-xV2SU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wRwNUvCXP_8'\n title='//www.youtube.com/embed/wRwNUvCXP_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">are here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ukrJ4QQEh6c'\n title='//www.youtube.com/embed/ukrJ4QQEh6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FDOLKSp2AWU'\n title='//www.youtube.com/embed/FDOLKSp2AWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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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"title": "What's That Thing Off 280? The Flintstone House",
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"content": "\u003cp>[dropcap]W[/dropcap]e don’t normally profile real estate listings for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>, but this one was too fascinating to pass up. The “Flintstone House,” as Peninsula locals call it, is on the market for $3.2 million. Which means we have a rare opportunity to \u003ca href=\"http://www.flintstonehouse280.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>peek inside\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>If you’ve ever driven northbound on Interstate 280 through Hillsborough, you’ve surely seen this house from the highway. There is nothing else like it in the neighborhood, which looks much like something out of “The Brady Bunch”: that is to say, sedate, one-story ranch homes circa the 1960s.\u003c/p>\n\u003cp>Locals named this the Flintstone House because it looks like one of the domed houses you might see in the 1960s Hanna-Barbera cartoon.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uq7noaMwLfg]And 45 Berryessa Way does look like it could be home to Fred and Wilma.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I asked the listing agent for the house, Judy Meuschke, if this is the most eccentric house she’s ever been involved in listing — “Yes!”\u003c/p>\n\u003cp>Meuschke says many people are surprised when they walk inside this 2,700-square-foot, three-bedroom, two-bathroom home. They expect something cavelike: dark, musty, weird. Instead, the interior is bright and airy, a meditation in cream with orange accents.\u003c/p>\n\u003cfigure id=\"attachment_11350378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11350378\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg\" alt=\"The owner loves art, making the interior a showcase in more ways than one.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The owner loves art, making the interior a showcase in more ways than one. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cozy,” Meuschke says. “It’s really livable. I love the house.”\u003c/p>\n\u003cp>She is showing me around because the current owner has moved to a smaller place, not too far from here. The woman keeps a low profile and doesn’t want her name used for this story, but she has done a lot of work on the place over the more than two decades she lived here.\u003c/p>\n\u003cp>The orange-and-purple paint job on the house is relatively new, as are a number of structural renovations, including a waterproof membrane, and insulation that obviates the need for air conditioning in the warmer months.\u003c/p>\n\u003cp>The kitchen, remodeled in the 2000s, looks to me like a biotech lab designed by Gustav Klimt. It was designed and built by Emeryville architect \u003ca href=\"http://eugenetsui.com/\" target=\"_blank\" rel=\"noopener\">Eugene Tssui\u003c/a>. His marching orders?\u003c/p>\n\u003cp>“The owner lives a life of art. She loves to live in art. She said to me, ‘I need a stove. I need a place for a fridge. But otherwise, anything goes,’ ” Tssui says.\u003c/p>\n\u003cfigure id=\"attachment_11350436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350436 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg\" alt='\"What if the kitchen became a work of art in itself?\" asked architect Eugene Tssui. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“What if the kitchen became a work of art in itself?” asked architect Eugene Tssui. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything is round in the house, creating a biomorphic quality to the place. Even the walls are curved. You don’t hang a painting. You set it on the floor and lean it back. Or build an alcove to house it.\u003c/p>\n\u003cp>“Because it’s a circular plan, I felt like the vocabulary of the design needed to fit that, the grammar of the geometry,” Tssui says. “Nothing like that had ever been done before. We had to experiment ahead of time and adapt it to that space: the way that space works, the way it accommodates movement.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11361109,11361108,11361107\"]\u003c/p>\n\u003cp>Why the cables holding up the glass countertop? Earthquake safety. Tssui explains they “allow for flex, and they allow the glass countertop to float above the ground.”\u003c/p>\n\u003cp>Looking back at the project after about a decade, Tssui says he’s most happy about the quality of the light in the space, and its effect on the viewer: “a kind of a shimmering, soaring feeling.”\u003c/p>\n\u003cfigure id=\"attachment_11350442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350442 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg\" alt=\"Inside the dome, in the “conversation pit,”, there’s tons of natural light, and a great view of the Crystal Springs Reservoir out of the window – which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the “conversation pit,” there’s tons of natural light, and a great view of Crystal Springs Reservoir out of the window — which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially in the rooms that face 280 and Crystal Springs Reservoir, there is a lot of natural light, pouring in through amoeba-shaped windows like the one above.\u003c/p>\n\u003cp>So who would spend $3.2 million on a party pad like this? For a number of months, there was a fair bit of interest in renting it out for $700+ a night on \u003ca href=\"https://www.airbnb.com/rooms/15148453\" target=\"_blank\" rel=\"noopener\">Airbnb\u003c/a>. But it’s been a challenge to find the wealthy person with as big a sense of whimsy as the Flintstone House requires.\u003c/p>\n\u003cp>Over the years, assessor’s records show, the house has sold five times. This time around, the Flintstone House went on the market for $4.2 million in September 2015, but there have been two price reductions since then.\u003c/p>\n\u003cfigure id=\"attachment_11350460\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350460 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg\" alt=\"Wherever you stand or sit in the Flintstone House, you’re looking into other rooms.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wherever you stand or sit in the Flintstone House, you’re looking into other rooms. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meuschke acknowledges the house is not conventional.\u003c/p>\n\u003cp>“I think the pool of buyers is much smaller,” she says, adding she does not imagine anyone would spend this kind of money just to tear this house down.\u003c/p>\n\u003cp>\u003cstrong>A Spirit of Adventure in the 1970s\u003c/strong>\u003c/p>\n\u003cp>When you think about it, it’s kind of crazy that other home owners in the San Francisco Bay Area haven’t built more outlandish experiments like the Flintstone House.\u003c/p>\n\u003cp>I did check with Hillsborough’s planning division, and there aren’t any rules against wacky, \u003cem>per se\u003c/em>.\u003c/p>\n\u003cp>That said, the owner had plans to build a second house to rent out on the property, designed by Tssui. Officials denied her proposal.\u003c/p>\n\u003cp>The owner wasn’t willing to fight, but Tssui still harbors misgivings.\u003c/p>\n\u003cp>“Planning departments promote conformity and a meek approach to design,” Tssui says. “It’s an aggressive hindrance to the freedom of human thought and action, forcing citizens to conform to personal, subjective edicts, which should be fought.”\u003c/p>\n\u003cfigure id=\"attachment_11350449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350449 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg\" alt=\"Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \u003ccite>(Photo: Courtesy of Eugene Tsui)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s an expression of its time,” says \u003ca href=\"http://www.pierluigiserraino.com/\" target=\"_blank\" rel=\"noopener\">Pierluigi Serraino\u003c/a>, an architect in Alameda who also writes books about architectural history.\u003c/p>\n\u003cp>“I find it, in many respects, endearing,” he says of the Flintstone House. “I’ve always seen it from the freeway and I always thought it was a classic period piece, a bit of a folly.”\u003c/p>\n\u003cp>The original owners built this place in 1977. In the late 1970s, Serraino says, people were more comfortable letting their freak flag fly.\u003c/p>\n\u003cp>“There have always been certain strands in architecture that try to establish some relationship with the organic world,” he says.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>In some respects, the Flintstone House follows a long line of fanciful architecture, with prestigious forbears including the famous Spanish architect \u003ca href=\"https://en.wikipedia.org/wiki/Antoni_Gaud%C3%AD\" target=\"_blank\" rel=\"noopener\">Antoni Gaudi\u003c/a>.\u003c/p>\n\u003cp>Also, the development of “shotcrete” at the turn of the last century opened a lot of doors for architecture. It’s a process in which concrete is sprayed through a hose at high velocity onto a frame of, typically, steel rebar and mesh.\u003c/p>\n\u003cp>“Shotcrete is a way to essentially create a sculptural fantasy, that then you cover with this layer of fluid stone,” says Serraino.\u003c/p>\n\u003cp>Think about that next time you’re driving past.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"excerpt": "Take a tour inside this unique Peninsula home that architects find whimsical. ",
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"title": "What's That Thing Off 280? The Flintstone House | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>e don’t normally profile real estate listings for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>, but this one was too fascinating to pass up. The “Flintstone House,” as Peninsula locals call it, is on the market for $3.2 million. Which means we have a rare opportunity to \u003ca href=\"http://www.flintstonehouse280.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>peek inside\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you’ve ever driven northbound on Interstate 280 through Hillsborough, you’ve surely seen this house from the highway. There is nothing else like it in the neighborhood, which looks much like something out of “The Brady Bunch”: that is to say, sedate, one-story ranch homes circa the 1960s.\u003c/p>\n\u003cp>Locals named this the Flintstone House because it looks like one of the domed houses you might see in the 1960s Hanna-Barbera cartoon.\u003c/p>\n\u003cp>\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/uq7noaMwLfg'\n title='//www.youtube.com/embed/uq7noaMwLfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>And 45 Berryessa Way does look like it could be home to Fred and Wilma.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I asked the listing agent for the house, Judy Meuschke, if this is the most eccentric house she’s ever been involved in listing — “Yes!”\u003c/p>\n\u003cp>Meuschke says many people are surprised when they walk inside this 2,700-square-foot, three-bedroom, two-bathroom home. They expect something cavelike: dark, musty, weird. Instead, the interior is bright and airy, a meditation in cream with orange accents.\u003c/p>\n\u003cfigure id=\"attachment_11350378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11350378\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg\" alt=\"The owner loves art, making the interior a showcase in more ways than one.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The owner loves art, making the interior a showcase in more ways than one. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cozy,” Meuschke says. “It’s really livable. I love the house.”\u003c/p>\n\u003cp>She is showing me around because the current owner has moved to a smaller place, not too far from here. The woman keeps a low profile and doesn’t want her name used for this story, but she has done a lot of work on the place over the more than two decades she lived here.\u003c/p>\n\u003cp>The orange-and-purple paint job on the house is relatively new, as are a number of structural renovations, including a waterproof membrane, and insulation that obviates the need for air conditioning in the warmer months.\u003c/p>\n\u003cp>The kitchen, remodeled in the 2000s, looks to me like a biotech lab designed by Gustav Klimt. It was designed and built by Emeryville architect \u003ca href=\"http://eugenetsui.com/\" target=\"_blank\" rel=\"noopener\">Eugene Tssui\u003c/a>. His marching orders?\u003c/p>\n\u003cp>“The owner lives a life of art. She loves to live in art. She said to me, ‘I need a stove. I need a place for a fridge. But otherwise, anything goes,’ ” Tssui says.\u003c/p>\n\u003cfigure id=\"attachment_11350436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350436 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg\" alt='\"What if the kitchen became a work of art in itself?\" asked architect Eugene Tssui. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“What if the kitchen became a work of art in itself?” asked architect Eugene Tssui. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything is round in the house, creating a biomorphic quality to the place. Even the walls are curved. You don’t hang a painting. You set it on the floor and lean it back. Or build an alcove to house it.\u003c/p>\n\u003cp>“Because it’s a circular plan, I felt like the vocabulary of the design needed to fit that, the grammar of the geometry,” Tssui says. “Nothing like that had ever been done before. We had to experiment ahead of time and adapt it to that space: the way that space works, the way it accommodates movement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why the cables holding up the glass countertop? Earthquake safety. Tssui explains they “allow for flex, and they allow the glass countertop to float above the ground.”\u003c/p>\n\u003cp>Looking back at the project after about a decade, Tssui says he’s most happy about the quality of the light in the space, and its effect on the viewer: “a kind of a shimmering, soaring feeling.”\u003c/p>\n\u003cfigure id=\"attachment_11350442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350442 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg\" alt=\"Inside the dome, in the “conversation pit,”, there’s tons of natural light, and a great view of the Crystal Springs Reservoir out of the window – which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the “conversation pit,” there’s tons of natural light, and a great view of Crystal Springs Reservoir out of the window — which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially in the rooms that face 280 and Crystal Springs Reservoir, there is a lot of natural light, pouring in through amoeba-shaped windows like the one above.\u003c/p>\n\u003cp>So who would spend $3.2 million on a party pad like this? For a number of months, there was a fair bit of interest in renting it out for $700+ a night on \u003ca href=\"https://www.airbnb.com/rooms/15148453\" target=\"_blank\" rel=\"noopener\">Airbnb\u003c/a>. But it’s been a challenge to find the wealthy person with as big a sense of whimsy as the Flintstone House requires.\u003c/p>\n\u003cp>Over the years, assessor’s records show, the house has sold five times. This time around, the Flintstone House went on the market for $4.2 million in September 2015, but there have been two price reductions since then.\u003c/p>\n\u003cfigure id=\"attachment_11350460\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350460 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg\" alt=\"Wherever you stand or sit in the Flintstone House, you’re looking into other rooms.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wherever you stand or sit in the Flintstone House, you’re looking into other rooms. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meuschke acknowledges the house is not conventional.\u003c/p>\n\u003cp>“I think the pool of buyers is much smaller,” she says, adding she does not imagine anyone would spend this kind of money just to tear this house down.\u003c/p>\n\u003cp>\u003cstrong>A Spirit of Adventure in the 1970s\u003c/strong>\u003c/p>\n\u003cp>When you think about it, it’s kind of crazy that other home owners in the San Francisco Bay Area haven’t built more outlandish experiments like the Flintstone House.\u003c/p>\n\u003cp>I did check with Hillsborough’s planning division, and there aren’t any rules against wacky, \u003cem>per se\u003c/em>.\u003c/p>\n\u003cp>That said, the owner had plans to build a second house to rent out on the property, designed by Tssui. Officials denied her proposal.\u003c/p>\n\u003cp>The owner wasn’t willing to fight, but Tssui still harbors misgivings.\u003c/p>\n\u003cp>“Planning departments promote conformity and a meek approach to design,” Tssui says. “It’s an aggressive hindrance to the freedom of human thought and action, forcing citizens to conform to personal, subjective edicts, which should be fought.”\u003c/p>\n\u003cfigure id=\"attachment_11350449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350449 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg\" alt=\"Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \u003ccite>(Photo: Courtesy of Eugene Tsui)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s an expression of its time,” says \u003ca href=\"http://www.pierluigiserraino.com/\" target=\"_blank\" rel=\"noopener\">Pierluigi Serraino\u003c/a>, an architect in Alameda who also writes books about architectural history.\u003c/p>\n\u003cp>“I find it, in many respects, endearing,” he says of the Flintstone House. “I’ve always seen it from the freeway and I always thought it was a classic period piece, a bit of a folly.”\u003c/p>\n\u003cp>The original owners built this place in 1977. In the late 1970s, Serraino says, people were more comfortable letting their freak flag fly.\u003c/p>\n\u003cp>“There have always been certain strands in architecture that try to establish some relationship with the organic world,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In some respects, the Flintstone House follows a long line of fanciful architecture, with prestigious forbears including the famous Spanish architect \u003ca href=\"https://en.wikipedia.org/wiki/Antoni_Gaud%C3%AD\" target=\"_blank\" rel=\"noopener\">Antoni Gaudi\u003c/a>.\u003c/p>\n\u003cp>Also, the development of “shotcrete” at the turn of the last century opened a lot of doors for architecture. It’s a process in which concrete is sprayed through a hose at high velocity onto a frame of, typically, steel rebar and mesh.\u003c/p>\n\u003cp>“Shotcrete is a way to essentially create a sculptural fantasy, that then you cover with this layer of fluid stone,” says Serraino.\u003c/p>\n\u003cp>Think about that next time you’re driving past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "new-federal-budget-cuts-nea-ending-millions-in-local-arts-funding",
"title": "New Federal Budget Cuts NEA, Ending Millions in Local Arts Funding",
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"headTitle": "New Federal Budget Cuts NEA, Ending Millions in Local Arts Funding | KQED",
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"content": "\u003cp>A new federal budget is due to be announced — and if passed, the United States government will cease funding for American-made art, ending a tradition that’s over 50 years old. \u003c/p>\n\u003cp>[contextly_sidebar id=”NPvREbQw0tnUsTXZgvZUXBRuwD14afjd”]\u003c/p>\n\u003cp>On Thursday, President Donald Trump is expected to unveil a $1.15 trillion budget, which, among dozens of other cuts, completely eliminates the National Endowment for the Arts (NEA). The endowment has provided over $5 billion in grants to artists and arts organizations since its creation in 1965, and its \u003ca href=\"https://www.arts.gov/sites/default/files/nea-quick-facts.pdf\" target=\"_blank\" rel=\"noopener\">$147.9 million budget\u003c/a> currently makes up about .004 percent of annual government spending.\u003c/p>\n\u003cp>California alone sees hundreds of creative projects funded by the NEA each year. For fiscal year 2016, \u003ca href=\"https://ww2.kqed.org/arts/2015/12/08/nea-awards-27m-in-grants-for-2016-over-2m-for-bay-area-orgs/\" target=\"_blank\" rel=\"noopener\">over 80 grants\u003c/a> were awarded to Bay Area organizations, totaling over $2 million. This year, the amount budgeted for state projects is over \u003ca href=\"https://www.arts.gov/sites/default/files/fall-2016-grant-announcement-state-listing-revised3.pdf\" target=\"_blank\" rel=\"noopener\">$4.3 million\u003c/a>. \u003c/p>\n\u003cp>In recent years, NEA funding has gone to educational programs such as Oakland’s \u003ca href=\"https://www.destinyarts.org/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a>; culturally-focused organizations such as the \u003ca href=\"http://caamedia.org/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media\u003c/a> in San Francisco; and original works by dance groups like \u003ca href=\"http://bandaloop.org/\" target=\"_blank\" rel=\"noopener\">Bandaloop\u003c/a> and composers working with the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Over 70 local organizations won grants for fiscal year 2017. \u003c/p>\n\u003cfigure id=\"attachment_10306531\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-520x600.jpg\" alt=\"Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” Photo by Vanessa Avery.\" width=\"520\" height=\"600\" class=\"size-medium wp-image-10306531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-520x600.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-400x461.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped.jpg 800w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” Photo by Vanessa Avery. \u003ccite>(Vanessa Avery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget’s elimination of the NEA has been predicted \u003ca href=\"https://ww2.kqed.org/arts/2017/01/19/report-trump-administration-plans-to-privatize-cpb-cut-nea/\" target=\"_blank\" rel=\"noopener\">since January\u003c/a>. As Senate Majority Leader Mitch McConnell once put it, “\u003ca href=\"http://thehill.com/homenews/senate/320506-mcconnell-winners-make-policy-and-losers-go-home\" target=\"_blank\" rel=\"noopener\">winners make policy and losers go home,\u003c/a>” and the NEA has been a target of small-government conservatives \u003ca href=\"http://www.nytimes.com/1988/05/15/arts/book-discloses-that-reagan-planned-to-kill-national-endowment-for-arts.html\" target=\"_blank\" rel=\"noopener\">since the 1980s\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While arts organizations scramble to make up for the lost support, the proposed federal budget increases funding for the military by $54 billion, the largest boost since the Reagan era. The budget also earmarks $2.6 billion as a first payment on the proposed U.S.-Mexico border wall, which is expected to cost a total of \u003ca href=\"http://www.reuters.com/article/us-usa-trump-immigration-wall-exclusive-idUSKBN15O2ZN\" target=\"_blank\" rel=\"noopener\">$21.6 billion\u003c/a>.\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Jane Chu, Chairman of the National Endowment for the Arts, \u003ca href=\"https://www.arts.gov/news/2017/statement-national-endowment-arts-chairman-jane-chu-fy-18-budget\" target=\"_blank\" rel=\"noopener\">released this statement\u003c/a> after the 2018 proposed Federal Budget was announced:\u003c/p>\n\u003cblockquote>\u003cp>Today we learned that the President’s FY 2018 budget blueprint proposes the elimination of the National Endowment for the Arts. We are disappointed because we see our funding actively making a difference with individuals of all ages in thousands of communities, large, small, urban and rural, and in every Congressional District in the nation.\u003c/p>\n\u003cp>We understand that the President’s budget request is a first step in a very long budget process; as part of that process we are working with the Office of Management and Budget (OMB) to prepare information they have requested. At this time, the NEA continues to operate as usual and will do so until a new budget is enacted by Congress.\u003c/p>\n\u003cp>We expect this news to be an active topic of discussion among individuals and organizations that advocate for the arts. As a federal government agency, the NEA cannot engage in advocacy, either directly or indirectly. We will, however, continue our practice of educating about the NEA’s vital role in serving our nation’s communities.\n\u003c/p>\u003c/blockquote>\n\u003cp>(\u003ca href=\"https://www.arts.gov/sites/default/files/fall-2016-grant-announcement-state-listing-revised3.pdf\" target=\"_blank\" rel=\"noopener\">See all of the NEA’s FY 2017 grants winners here\u003c/a>.)\u003c/p>\n\u003cp>\u003ci>Below is a list of Bay Area organizations slated to receive 2017 NEA grants, which were announced in December of last year:\u003c/i> \u003c/p>\n\u003ch3>Berkeley Repertory Theatre (a.k.a. Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The center represents Berkeley Repertory Theatre’s efforts to sustain and develop relationships with both emerging and mature artists. The project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Kala Institute (a.k.a. Kala Art Institute)\u003c/h3>\n\u003ch5>$15,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Artist Communities\u003cbr>\nTo support artist residencies and related activities. U.S. and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (a.k.a. Telluride Film Festival)\u003c/h3>\n\u003ch5>$20,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held in the fall, the event includes the presentation of feature-length and short films from the United States and around the world, accompanied by panel discussions, retrospectives, artist tributes, and educational programs. Recent festivals have included the premieres of films such as\u003cbr>\n\u003cem>Spotlight\u003c/em>, \u003cem>The Artist\u003c/em>, \u003cem>The Imitation Game\u003c/em>, \u003cem>He Named Me Malala\u003c/em>, \u003cem>Son of Saul\u003c/em>, and \u003cem>Room\u003c/em>.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Pacific Film Archive)\u003c/h3>\n\u003ch5>$25,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support “Out of the Vault: Exploring Archival Treasures from the Pacific Film Archive (PFA) Collection.” This project will provide public exposure to archival treasures from the PFA collection through PFA’s exhibition program, film collection, and library research center. Local and international artists, curators, and scholars will convene during screenings of works from Pacific Film Archive’s collection, including features on Asian cinema, experimental film, and works from the former Soviet Union. In residencies that accompany each curated series, visiting artists and scholars will collaborate with local filmmakers and field experts to participate in lectures, panel discussions, and the creation of new written works, such as interpretive and scholarly essays aimed to increase the audience’s understanding of different approaches to film structure, style, and creative process. Audiences will have access to the interpretive resources generated through the project, such as the written works on the PFA website and online database of more than 56,500 film-related documents, many of which are unavailable elsewhere online.\u003c/p>\n\u003ch3>Small Press Distribution, Inc. (a.k.a. SPD)\u003c/h3>\n\u003ch5>$75,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Literature\u003cbr>\nTo support services to literary small press publishers, including the distribution and marketing of books. Services include the creation of an online presence for each title; management of metadata; imaginative marketing; warehousing; the fulfillment of orders; and customized advice. Providing an essential pathway between publishers and booksellers, librarians, and individual readers, the project will be instrumental in keeping small press publishers competitive in today’s market.\u003c/p>\n\u003ch3>Alameda County Office of Education (a.k.a. ACOE)\u003c/h3>\n\u003ch5>$50,000 / Hayward, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support Inspiring Creative Communities, a collective impact project. The Alliance for Arts Learning Leadership, a collaborative of arts and education agencies and community partners in seven counties in the San Francisco Bay Area, will develop and share best strategies for arts education, expand data collection and analysis, and propose that Title I funds be allocated for the arts through the California state Local Control Accountability Plan. The Alliance for Arts Learning Leadership also will work with a coach to move a system from incremental change thinking to transformational change thinking.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (a.k.a. Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 Healdsburg, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support tributes to the Heath brothers and NEA Jazz Master Bobby Hutcherson. Programming plans for the two-day festival will include a small ensemble performance by NEA Jazz Master Jimmy Heath and his brother Albert “Tootie” Heath.The tribute to the late Bobby Hutcherson will feature vibraphonist Steve Nelson alongside\u003cbr>\nRenee Rosnes, Ray Drummond, and Victor Lewis for the presentation of a repertoire comprised of Hutcherson’s compositions as well as recent works dedicated to him.\u003c/p>\n\u003ch3>Marin Theatre Company (a.k.a. MTC)\u003c/h3>\n\u003ch5>$20,000 / Mill Valley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the production of “Native Son” by Nambi E. Kelley. Adapted from the 1940 novel by Richard Wright, the play portrays an impoverished African-American youth in 1930s Chicago. He dares to want more in his life and a new job leads to an accident that sends him down a violent path and prison. The 80-year-old story about race and class will resonate with challenges facing contemporary America. High school students will experience special matinee performances and the theater will host symposia on race, class, and history.\u003c/p>\n\u003ch3>Monterey Jazz Festival\u003c/h3>\n\u003ch5>$30,000 / Monterey, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support the 60th annual Monterey Jazz Festival. Emerging and established musicians, including at least one NEA Jazz Master, will appear in as many as 70 performances on multiple stages during the three-day festival. Past performers include NEA Jazz Masters Toshiko Akiyoshi, Carla Bley, Branford Marsalis, Wayne Shorter, and Gerald Wilson. Ancillary festival programming will include jazz-focused panel discussions, films, exhibits, and artist interview sessions. Several artists are under consideration as the 2017 commissioning and showcase artists as well as for a year-long artist residency, which includes a guest appearance at the 2017 Next Generation Jazz Festival; an instructor role at the MJF Summer Jazz Camp; and a festival performance with the Next Generation Jazz Orchestra, a big band comprised of preeminent high school musicians from across the nation. Many of the festival performances will be streamed live for worldwide audiences.\u003c/p>\n\u003ch3>AXIS Dance Company (a.k.a. AXIS)\u003c/h3>\n\u003ch5>$20,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support Dance Access education and outreach programs. AXIS will offer a variety of events in the Bay Area and on a national tour for youth and adults with and without disabilities who are based locally and nationally. Project activities may include dance classes, professional-level dance training, teacher training, a dance apprentice program for students with spinal cord injuries, community workshops, lecture-demonstrations, live and virtual interaction with performance, and building creative dance skills.\u003c/p>\n\u003ch3>California College of the Arts\u003c/h3>\n\u003ch5>$20,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Visual Arts\u003cbr>\nTo support the group exhibition and catalogue for “Mechanisms” at the Wattis Institute for Contemporary Arts. Through sculpture, photography, video, painting, and site-specific installation, the exhibition will explore how everyday technologies affect modern life. It is anticipated that the exhibition will appeal to a wide range of people, including tourists to the Bay Area, the technology community, and the college’s community of students, faculty, and staff. Public programs, including lectures, workshops, performances, and panel discussions will accompany the exhibition.\u003c/p>\n\u003ch3>Destiny Arts Center (a.k.a. Destiny Arts or Destiny)\u003c/h3>\n\u003ch5>$15,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the Destiny Arts Youth Performance Company. Teenagers from diverse cultural and socioeconomic backgrounds will train intensively with professional dancers, choreographers, and theater artists to create and perform work around the Bay Area. The work will be based on personal narrative and social change. Performance measures follow a logic model, which gives equal weight to youth development outcomes and\u003cbr>\nartistic learning.\u003c/p>\n\u003ch3>Islamic Cultural Center of Northern California (ICCNC) (a.k.a. ICCNC)\u003c/h3>\n\u003ch5>$10,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support a series of project incubations for Muslim-American artists and related public presentations. The participating artists will include hip-hop poet Amir Suleiman, artist/curator Arash Shirinbab, comedienne Zahra Noorbaksh, and filmmakers Sabereh Kashi and Raeshma Razvi. Project activities will include artist-led workshops\u003cbr>\nand lectures. Each artist’s performance or exhibition will include opportunities for the audience to ask questions and discuss the project with the artist. There will be as many as 10 events – five public screenings, exhibitions, or performances and five artist-led workshops, dialogue groups, or other educational opportunities for the public, including members of the area’s diverse Persian, African-American, and Afghani communities.\u003c/p>\n\u003ch3>Kunz, Edgar\u003c/h3>\n\u003ch5>$25,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Creative Writing Fellowship\u003c/strong>\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support: In the Name of Love, the 15th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will feature San Francisco Bay Area vocalists Kenny Washington; Will Russ, Jr.; Terrie Odabi; Destani Wolf; and Luq Frank as well as the 70-voice Oakland Interfaith Gospel Choir and the 300-voice choir from the Living Jazz Children’s Project. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist Marvin Gaye.\u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (a.k.a. OIGC)\u003c/h3>\n\u003ch5>$10,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature Hawkins, vocalists Calvin B. Rhone and Linda Tillery, and guest choirs from the U.S. and abroad. Hawkins\u003cbr>\nwill also premiere a new composition and conduct a performance by the International Interfaith Gospel Music Choir. Associated outreach activities will include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists.\u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$20,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support rehearsal and preparation of dance works for a national tour. Bandaloop will tour “#PublicCanvas,” a large-scale multimedia vertical dance collaboration by media artist Jonathan Rowe of Madrone Studios/The Village, choreographer Amelia Rudolph, and animator GMUNK. The work will premiere at #SFPublicCanvas, a site-specific platform for community content and vertical dance. “Dances from Thin Air” will layer film of natural spaces, dance filmed in nature, and live dance in a dynamic vertical performance. Footage will be drawn from Rudolph’s recent “SHIFT,” a site-specific dance/film project made in the Sierra Nevada Mountains, and from “Coyote Waltzes,” a work created and filmed in Yosemite National Park. “Dances from Thin Air” will bring Bandaloop’s signature integration of climbing technology and vertical dance made in remote locations to large, urban audiences.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (a.k.a. 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The event is a multi-day festival screening feature films, documentaries, and short films – classic and contemporary – by South Asian filmmakers from around the world. The festival will spotlight screenings and programming featuring India’s Dalit community. Programming will also include panel discussions, and will feature proposed guest artist filmmaker Nagraj Manjule (India).\u003c/p>\n\u003ch3>American Conservatory Theatre Foundation (a.k.a. American Conservatory Theater (A.C.T.))\u003c/h3>\n\u003ch5>$50,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support a production of “A Thousand Splendid Suns” by Ursula Rani Sarma. The adaptation of the novel by Khaled Hosseini is set in contemporary Afghanistan, and explores a friendship between two women from different backgrounds. Together they struggle to survive sectarian violence and changing political winds. The story reveals Afghan class and gender politics and confronts misconceptions about the roles of women in Middle Eastern cultures. Afghan artist Humaira Ghilzai may serve as a cultural consultant for the project to provide historical accuracy and assist in outreach efforts to the communities represented in the play.\u003c/p>\n\u003ch3>Art of the Matter Performance Foundation (a.k.a. Deborah Slater Dance Theater)\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation of a new work “Love/Over Time,” by Artistic Director Deborah Slater. Slater will collaborate with composer/performer Darren Johnston and lighting/set designer Allen Willner to investigate the idea of “love over time.” Working with StoryCorps, and through interviews with centenarians, aging boomers,\u003cbr>\nand millennials, the work will demonstrate life’s complexity of change, aging, enduring loss, and how we are transformed by these experiences. Project activities may include workshops led by Slater and Johnston, lecture demonstrations, and performances at senior centers, George Washington High School, and Studio 210.\u003c/p>\n\u003cp><h3Bay Area Video Coalition, Inc. (a.k.a. BAVC)\n\u003c/p>\u003ch5>$55,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made accessible to the public for live and online exhibitions. Approximately\u003cbr>\n700 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include the Trisha Brown Dance Company,\u003cbr>\nChicago Film Archives, The Poetry Center of San Francisco State University, and Public Square Films.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, \u003cem>Zoom In\u003c/em>.\u003c/p>\n\u003ch3>California Lawyers for the Arts, Inc.\u003c/h3>\n\u003ch5>$35,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Local Arts Agencies\u003cbr>\nTo support artist residencies in county jails. The organization will provide technical assistance, recruitment and training of artists, and program outreach to local law enforcement. It will work with local arts agencies in several California communities to enable the inclusion of arts programming as a rehabilitative tool in county jails.\u003c/p>\n\u003ch3>Canyon Cinema Foundation (a.k.a. Canyon Cinema)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support an exhibition and touring program celebrating the 50th anniversary of film distributor Canyon Cinema. Dedicated to independent and experimental media art, works from the Canyon Cinema collection, many in 16mm format, will be selected for restoration, digitization, and exhibition. Visiting filmmakers and staff will participate in discussions accompanying the screenings, featuring work by artists such as Chick Strand, Robert Nelson, Leann Bartok, and David Lebrun. The exhibition also will tour to venues across the country in cities such as Chicago, Illinois; Louisville, Kentucky; and Rochester, New York.\u003c/p>\n\u003ch3>Center for Asian American Media (a.k.a. CAAM)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the CAAMFest, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Oakland, and San Jose, CAAMFest showcases documentary, narrative, animated and experimental works in film and video, as well as live events, multi-media performances, and expanded ventures into the music and culinary arts worlds. Festival attendees will have the opportunity to participate in activities and curated experiences that provide a deeper context of Asian-American filmmaking and gain a greater understanding of the diversity and richness of contemporary Asian-American cultural voices through educational panels and discussions. Additional festival programming may include free screenings of curated films from Muslim Youth Voices, a three-year national initiative of the Center for Asian American Media (CAAM); and Memories to Light: Asian American Home Movies, featuring a collection of films from California’s Central Valley rural farming\u003cbr>\ncommunities.\u003c/p>\n\u003ch3>Center for New Music San Francisco, Inc. (a.k.a. Center for New Music)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support Soundvoice, a series of music workshops. The workshop participants will include residents of San Francisco’s Tenderloin, Sixth Street Corridor, and Mid-Market neighborhoods struggling with homelessness and poverty. Professional musicians will provide music education and creation opportunities focused on the field of new music; the project will culminate with a public performance.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books, published through Two Line Press, will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Corporation of the Fine Arts Museums (a.k.a. Fine Arts Museums of San Francisco)\u003c/h3>\n\u003ch5>$60,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Museum\u003cbr>\nTo support “Stuart Davis: In Full Swing,” and related educational and public programming. Co-organized by the Whitney Museum of American Art and the National Gallery of Art, the traveling exhibition pays tribute to Stuart Davis (1892-1964), one of the most important innovators in the evolution of American modernism and abstraction. With approximately 75 works on display, ranging from his early paintings of commercial products from the 1920s, to the canvas that was on his easel at the time of his death, the exhibition highlights Davis’s unique ability to assimilate pop culture influences — the aesthetics of advertising and the rhythms of jazz — with the lessons of Cubism. The de Young will be the only exhibition venue west of the Mississippi. Comprehensive public programming at the de Young is planned to complement the exhibition, including a month-long residency for a local artist.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$20,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the Artist Residency and Commissioning (ARC) Program. The program identifies local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience and provides space and support for those artists to create new works. The ARC Program supports as many as three, five-month residencies during which artists will create and perform new works. ARC provides three annual residency tracks for dance and performing artists: Edge, focusing on disruptive contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and technologically engaged work. Activities include work-in-progress showings where residents and the public provide feedback on the work, as well as a mentor for each resident artist. After the residency period, ARC may offer services such as fiscal sponsorship, and technical and administrative support.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (a.k.a. Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “A Tale of Autumn” by Christopher Chen. A modern-day fable explores themes of political power, notions of cultural hierarchy, and the power of corporate personhood in present day capitalism. Chen unveils the psychology of a one-time altruistic corporation whose seemingly benign tactics destroy a people over time. A Machiavellian and intricate power network of characters aspire for leadership and an insurgent populace is devastated by the collateral damage of the “corporate game.” The commissioned work is inspired by Shakespeare’s \u003cem>Richard III\u003c/em> and \u003cem>Macbeth\u003c/em> and popular “quest-for-power” TV shows.\u003c/p>\n\u003ch3>Dancers’ Group (a.k.a. Dancers’ Group)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support “In Dance,” a free print and online monthly publication that promotes dance artists in the San Francisco Bay Area. The publication includes a comprehensive performance calendar, summer workshop guide, articles, previews of dance companies, feature articles, personal perspectives on dance, and special interviews and features. Articles give readers an in-depth, behind-the-scenes look at the work being created by the region’s artists and by those in other parts of the country as well.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$100,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Creativity Connects\u003cbr>\nTo support Artistic Practice towards Urban Resilience (APUR), in partnership with the Department of Civil and Environmental Engineering at the University of California, Berkeley. APUR will immerse artists in a multi-scale investigation of transportation systems, community, and governance related to the impacts of climate change in the San Francisco Bay Area. In conjunction with the Resilience of Infrastructure as Seas Rise (RISeR) project-a consortium of academic institutions, research labs, nonprofits, and government entities-APUR will explore how artists approach the problem of sea level rise and its impact on city infrastructure, as well as how artistic conceptualization of climate data can inform, inspire, and empower communities at risk. The project will include a colloquium connecting professional artists directly with scientists to investigate how artistic approaches can further community engagement and learning. Through a collaborative residency, selected artists will develop prototypes of platforms and data presentations to support a public education and resiliency campaign.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (a.k.a. San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Presenting & Multidisciplinary Works\u003cbr>\nTo support the San Francisco International Arts Festival and related activities. The nearly 3-week festival will feature about 180 performances by artists from the Bay Area and approximately 14 different countries. Most artists will engage in one- or two-week residencies that typically includes three or four performances a week, and at least one educational or outreach activity. All artists will be asked to present a master class or lecture that the general public can attend at no cost.\u003c/p>\n\u003ch3>Flyaway Productions\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation and presentation of “The Credibility Project.” The site-specific performance will bring awareness through aerial dance and dialogue to a serious sociopolitical issue: a lack of credibility for women. Proposed collaborators include photojournalist Lynn Johnson and hip-hop composer MADLINES. Free performances will premiere in San Francisco’s Tenderloin neighborhood on a wall owned by the University of California’s Hastings Law School. This will be Flyaway’s fourth community responsive project in the Tenderloin since 2012.\u003c/p>\n\u003ch3>Frameline (a.k.a. San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. Feature-length and short films representing the LGBTQ community will be screened at each venue, followed by discussions with filmmakers, artists, critics, authors, educators, and community activists. In 2017, Frameline will continue its expansion to include Santa Clara, San Jose, and surrounding areas in the South Bay. All screenings are free and open to the public. Previous program screenings include \u003cem>Margarita with a Straw\u003c/em> by Shonali Bose and “Back on Board: Greg Louganis” by Cheryl Furjanic.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the ReOrient Theatre Festival and Forum. The project will include a festival of short plays and a forum of panel discussions about theater and the Middle East. The festival will serve as a springboard for the careers of emerging Middle Eastern-American playwrights and will introduce audiences to significant dramatic\u003cbr>\nworks from the Middle East by authors rarely produced in the United States. Through the project, Golden Thread will create engagement opportunities for artists, academics, and both national and international audiences.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (a.k.a. Cultural Odyssey)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the tour of \u003cem>Fully Awake, Facing Seventy: Heaven Betta Be a Honky-Tonk!\u003c/em> A cabaret with live music celebrates Cultural Odyssey Co-Artistic Director Rhodessa Jones’ new status as a senior citizen and her career as a professional artist and community activist. It is written and performed by Jones with musical direction and performance by Co-Artistic Director Idris Ackamoor with a trio of musicians. The issues and experiences of the aging process for women are addressed through her writing and performance. The duo will celebrate their 40th anniversary as a performance ensemble and will tour the full-length autobiographical work nationally.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (a.k.a. The Kitchen Sisters)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cem>Art Works \u003c/em>– Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio by producers Davia Nelson and Nikki Silva, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution,\u003cbr>\nand made available for public access through the podcast and additional digital platforms. Featured episodes will cover topics such as a profile of Brazilian author Jorge Amado, the effects of World War II internment on Japanese American cooking, and the legacy of inventor Preston Tucker and his “Car of Tomorrow.”\u003c/p>\n\u003ch3>Kronos Performing Arts Association (a.k.a. Kronos Quartet)\u003c/h3>\n\u003ch5>$45,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a tour of a new work by composer Jonathan Berger and librettist Harriet Scott Chessman performed by the Kronos Quartet. The work, titled “My Lai” will mark the 50th anniversary of the My Lai Massacre in South Vietnam. The performances will feature tenor Rinde Eckert and Vietnamese musician Van-Anh Vanessa Vo. In addition to traditional instruments such as the dan Bau, a one-stringed zither, and a bamboo xylophone called the dan T’rung, Vo also will perform on a set of percussion instruments made from spent shell casings. Likely venues may include the Center for the Art of Performance at the University of California Los Angeles; Hopkins Center for the Arts at Dartmouth College in Hanover, New Hampshire; and Texas Performing Arts at the University of Texas at Austin. Educational activities will include panel discussions, artist talks, and question-and-answer sessions.\u003c/p>\n\u003ch3>Magic Theatre, Inc. (a.k.a. Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Theater & Musical Theater\u003cbr>\nTo support the premiere of “Grandeur” by Han Ong. The play is inspired by the life of Gil Scott-Heron, frequently referred to as the “father” of hip-hop by the new generation of rappers. In 2010, a year before his death, ScottHeron was profiled in The New Yorker magazine. He emerged from the article as an enigmatic subject, both\u003cbr>\nastute and tragic, having succumbed to an addiction to crack cocaine in the 1990s. Ong portrays a young reporter who ruminates on his idol Scott-Heron, his pattern of self-destruction, Black masculinity, and the cultural legacy of Scott-Heron’s life and music.\u003c/p>\n\u003ch3>Mixed Bag Productions (a.k.a. Sara Shelton Mann)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Dance\u003cbr>\nTo support the creation and presentation of a new evening-length piece, \u003cem>The Invitation\u003c/em>, by Artistic Director Sara Shelton Mann. Made up of two intertwined duets, Mann will return to some earlier choreographic techniques to create the movement for this work-that of phrasing and complicated rhythms-placed within new research of how she may speak to the fast-paced information that surrounds us every day. The basic premise of the piece is simple: dancing for the joy of it; dancing as the meaning in itself and the touch it explores. “The Invitation” will premiere at Joe Goode Annex in the Mission Neighborhood of San Francisco.\u003c/p>\n\u003ch3>ODC (a.k.a. ODC/Dance)\u003c/h3>\n\u003ch5>$20,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director KT Nelson will choreograph the first phase of a new work, titled, \u003cem>Reimagining Heritage\u003c/em>. Founder and Artistic Director Brenda Way will create a new chamber work with music drawn from the David Lang catalogue. ODC will work with presenters and local organizations to develop outreach activities to increase engagement, such as lecture-demonstrations and balcony talks. These new works will premiere in ODC’s annual Dance Downtown season at Yerba Buena Center for the Arts in San Francisco.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support presentation of dance works by local, national, and international artists. ODC Theater will expand the Walking Distance Dance Festival-SF to feature an increased number of performances in a fringe-format. Additional performance highlights will include the world premiere of Monique Jenkinson’s \u003cem>Delicate Material\u003c/em>, which questions how society views gender and misogyny, and free site-specific performances by Joanna Haigood/Zaccho Dance Theater in partnership with the African American Performing Arts Coaltion and the Joe Goode Annex. ODC Theater will take these dance experiences beyond performance by offering master classes, pre- and post-performance talks, and a performance docent program that will offer free tickets to local artists\u003cbr>\nand academics who are willing to engage in one-on-one conversations with audience members.\u003c/p>\n\u003ch3>Other Minds\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a performance project celebrating the life and music of American composer Lou Harrison. Titled “Just 100: Homage to Lou Harrison,” the project activities will include performances, panel discussions, and exhibitions. Participating in the centenary celebration may be artists such as Dennis Russell Davies, Bruckner Orchestra, pianist Maki Namekawa, violinist Yumi Hwang-Williams, percussion ensemble William Winant Ensemble, harpist Meredith Clark, cellist Emil Miland, and the Mission Dolores, Voci, and Resound choruses. Panelists may include musicians and scholars such as Robert Hughes, Bill Alves, Leta Miller, Paul Dresher, Giacomo Fiore, John Kennedy, John Luther Adams, Peter Garland, and Jody Diamond. Events will be presented in San Francisco and Santa Cruz.\u003c/p>\n\u003ch3>Parallele Ensemble Corporation (a.k.a. Opera Parallele)\u003c/h3>\n\u003ch5>$22,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support a new production of “Les Enfants Terribles” by composer and NEA Opera Honoree Philip Glass at Opera Parallele. Based on novel of the same name by Jean Cocteau (1929), this tragic story follows siblings Paul and Elisabeth through what began as a childhood game and ends in death and destruction. The third installment\u003cbr>\nof the composer’s trilogy of works based on Cocteau, with this work Glass invented a hybrid dance-opera form in which the dance element is not secondary or decorative, but rather contributes to the narrative flow and soundscape of the opera. The creative team may include director Brian Staufenbiel, conductor Nicole Paiement, media\u003cbr>\ndesigner David Murakami, and choreographer Amy Seiwert. Performances will take place at the Caroline H. Hume Concert Hall in San Francisco in the spring of 2017.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (a.k.a. Philharmonia)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support performances of “Le Temple de la Gloire” by composer John-Philippe Rameau with a libretto by Voltaire. Premiered as a five-act opera-ballet at Versailles to celebrate the French victory of the Battle of Fontenoy, the work was subsequently revised to a three-act opera. The performances-of the original version that has not been performed since the premiere in 1745-will mark the company’s first fully staged opera and will include a full orchestra, chorale, six principal singers, and eight baroque dancers. Organizational partners Cal Performances and Centre de Musique Baroque de Versailles (Versailles, France) will help develop a series of lectures and excerpted performances for University of California at Berkeley students. In addition, talks with the costume designers, set designers, and musicologists from UC Berkeley and Stanford will be hosted by reporters and hosts from the NPR affiliate in San Francisco as well as KDFC. As many as three performances will occur at the Zellerbach Hall on the UC Berkeley campus in the spring of 2017.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (a.k.a. Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in\u003cbr>\ndevelopment at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend during which national new play producers will be invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>Robert Moses Kin\u003c/h3>\n\u003ch5>$10,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Trap Doors/Painted Corners/Trick Bags\u003c/em>, a new work by Artistic Director Robert Moses. The piece will explore the parallel paths taken from childhood to adulthood, based on race and possibility, and will look at the displacement, disconnection, and lifetime of personal disparity that results from these separate paths. To develop the work, Moses will reach out to organizations such as the National Black Police Association, San Francisco Police Activities League, and Youth Speaks. \u003cem>Trap Doors/Painted Corners/Trick Bags\u003c/em> will be a triptych and premiere in three parts: onstage at Yerba Buena Center for the Arts;\u003cbr>\noutside at the famous Powell Street cable car turn-around; and in the historically African-American and now\u003cbr>\nchanging Bayview neighborhood of San Francisco.\u003c/p>\n\u003ch3>Root Division\u003c/h3>\n\u003ch5>$20,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Visual Arts\u003cbr>\nTo support the Second Saturday Exhibition Series. The project is a collection of visual arts events and presentations of work by Bay Area artists. Local artists will present works that explore contemporary ideas and current social concerns in a variety of media including painting, drawing, sculpture, photography, installation, video, film, new media, and performance work. The series will include more than 350 artists, and will engage the public through open gallery hours, artist panels, and related public programming.\u003c/p>\n\u003ch3>San Francisco Art and Film Program (a.k.a. SF Art & Film)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the Teen Film Workshop. The media arts education project will prepare students for film school and\u003cbr>\ntrain them for careers in the film industry. Students will participate in lectures and film viewings, which will\u003cbr>\nprovide them with a foundation in theory; they then will apply what they have learned as they design and\u003cbr>\nproduce individual films and a group film. The program will culminate in the presentation of student work at the San Francisco Art Institute.\u003c/p>\n\u003ch3>San Francisco Cinematheque\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support Crossroads 2017, a festival dedicated to experimental media arts. Held in the spring, the festival presents avant-garde and experimental works, including film, video, live cinema performance, and media art installation. Crossroads generally showcases new work made within the last two years, highlighting contemporary artistic and curatorial trends within the avant-garde and experimental landscape. Previous\u003cbr>\nfestivals have included works from the United States, Palestine, Germany, and Sweden, and such artists as Basma Alsharif, Craig Baldwin, Grouper, Jodie Mack, Jeremy Moss, Margaret Rorison, and Ben Russell.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (a.k.a. SFCMP)\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a performance project celebrating the legacy of American composer Lou Harrison. The project, titled “A Lou Harrison Centennial Celebration,” will comprise tributes to Harrison, composer talks, and concerts featuring the works of Harrison. Programming will include the participation of composers Jimmy Lopez and Natacha Diels. Activities will take place at Z Space in San Francisco.\u003c/p>\n\u003ch3>San Francisco Film Society (a.k.a. SFFS)\u003c/h3>\n\u003ch5>$20,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the 60th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, accompanied by live performances and educational programs. Throughout the year, additional presentations will include contemporary works from Hong Kong, a food and film series in partnership with the Jewish Community Center of San Francisco, and the Screenings in Schools program, in which students view films and engage with artists in person or over Skype.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (a.k.a. SFJAZZ)\u003c/h3>\n\u003ch5>$40,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by octet members and arrangements of music by Miles Davis. During its 2017 national tour, the ensemble will perform and engage in outreach events including master classes for young musicians. Confirmed tour stops include the Ferst Center for the Arts in Atlanta, Georgia; Chicago Symphony Center in Chicago, Illinois; Ferring Jazz Bistro, in St. Louis, Missouri; Miller Theatre at Columbia University in New York, New York; Annenberg Center for the Performing Arts in Philadelphia, Pennsylvania; and Brooks Center for the Arts at Clemson University in Clemson, South Carolina.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (a.k.a. Jewish Film Institute)\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the 37th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Curatorial collaboration with media art organizations such as Frameline and the Center for Asian American Media will provide audiences with thematic programs that explore the ethnic, racial, and religious diversity of the Jewish experience. Recent films screened at the festival include \u003cem>Regarding Susan Sontag\u003c/em> by Nancy Kates, \u003cem>Dough\u003c/em> by John Goldschmidt, \u003cem>Autism in Love\u003c/em> by Matt Fuller, and \u003cem>Peggy Guggenheim: Art Addict\u003c/em> by Lisa Vreeland.\u003c/p>\n\u003ch3>San Francisco Museum of Modern Art (a.k.a. SFMOMA)\u003c/h3>\n\u003ch5>$30,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Museum\u003cbr>\nTo support the “Matisse/Diebenkorn” exhibition and related programming. Co-organized with the Baltimore Museum of Art, the exhibition will feature approximately 60 drawings and paintings by Henri Matisse (1869-1954) and approximately 60 works by Richard Diebenkorn (1922-93), creatively juxtaposing and pairing the artists’ works to articulate the influence of Matisse on Diebenkorn. Free school tours, educational outreach activities, exhibition mobile guides, and other programs will enhance the experience for thousands of audience members.\u003c/p>\n\u003ch3>San Francisco Opera Association (a.k.a. San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support the world premiere of \u003cem>Girls of the Golden West\u003c/em> by composer and NEA Opera Honoree John Adams and librettist Peter Sellars. The opera interweaves the true stories of three women during the Gold Rush whose lives intersect in a small mining community of the Sierra Mountains in 1850. The creative team may include set designer Adrianne Lobel, costume designer Rita Ryack, and lighting designer James F. Ingalls. The cast may include sopranos Julia Bullock and Jung Lee, mezzo-soprano J’nai Bridges, tenor Paul Appleby, and baritones Davone Tines and Elliot Madore. Outreach activities will be planned in partnership with the California Historical Society and UC Berkeley Library Archival Department; Stanford University’s Women’s Club will provide context for the role of women in the Gold Rush; and the Mechanics Institute Library will lead a discussion about the process of mining in the 1850s. A co-production with Dallas Opera, Dutch National Opera (Amsterdam, Netherlands), and Teatro La Fenice (Venezia, Italy), as many as seven performances will be presented in the fall of 2017 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Symphony (a.k.a. SFS)\u003c/h3>\n\u003ch5>$85,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a performance project celebrating the 70th birthday of composer John Adams. Under the direction of Artistic Director Michael Tilson Thomas, the project will feature the performances of recent works by Adams including the oratorio “The Gospel According to the Other Mary,” which will be performed with conductor Joana Carneiro, music director of the Berkeley Symphony, guest artists Kelley O’Connor, Tamara Mumford, Jay Hunter Morris, and the San Francisco Symphony Chorus; and “Scheherezade.2” with guest artist, violinist Leila Josefowicz, for whom the concerto-like work was originally written. The compositions will be the center of lectures and community events that focus both on the roles of women in traditional narratives and how such themes fit into the composer’s socially and politically engaged body of work. The concerts will be presented at Davies Symphony Hall.\u003c/p>\n\u003ch3>San Francisco Symphony (a.k.a. SFS) (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$20,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the Artist Development Program of the San Francisco Symphony Youth Orchestra. Professional musicians provide in-depth engagement with orchestral music to students free-of-charge, as a complement to the Youth Orchestra’s weekly rehearsals and concert series. Program components include intensive coaching, collaboration with guest artists, apprenticeships, mentoring, and training in chamber music and audition techniques. All program activity serves all Youth Orchestra students, and students are able to experience live music at a professional level by attending San Francisco Symphony concerts throughout the year.\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. Participants, selected by a rotating curatorial committee, will receive conceptual, logistical, and administrative support, a stipend, and a materials budget to develop their work.\u003c/p>\n\u003ch3>Stein, Melissa\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Creative Writing Fellowship\u003c/strong>\u003c/p>\n\u003ch3>Stern Grove Festival Association (a.k.a. Stern Grove Festival)\u003c/h3>\n\u003ch5>$40,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Local artists from various disciplines will be commissioned to create and perform site-specific works. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>Women’s Audio Mission (a.k.a. WAM)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (a.k.a. San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the 39th annual San Francisco Ethnic Dance Festival. The festival will present more than 30 world dance companies based in Northern California and provide underserved artists with the opportunity to perform in a professional setting. An adjudication panel comprising teachers, performers, and ethnologists will select dance artists and companies whose work is rooted in a cultural tradition. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (a.k.a. Yerba Buena Gardens Festival)\u003c/h3>\n\u003ch5>$35,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees and staff travel associated with the Yerba Buena Gardens Festival. The free outdoor series will include the creation and presentation of new works by artists in circus arts, world music, dance, theater, and Latin jazz, among others. In addition to performances, lectures and demonstrations by festival artists will be offered in collaboration with community partners.\u003c/p>\n\u003ch3>Yerba Buena Center for the Arts (a.k.a. YBCA)\u003c/h3>\n\u003ch5>$90,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Creativity Connects\u003cbr>\nTo support Citizenship 2.0, in partnership with Neighborland, an online civic communications platform. The collaboration will focus on integrating the arts and technology to spur community participation and civic action leading to positive change in San Francisco and the Bay Area. A cohort of YBCA fellows, as many as 90 diverse thought leaders, will participate in a paid collective research opportunity investigating current social questions. Guided by YBCA and Neighborland, the fellows will hold quarterly cohort meetings, create project web pages on\u003cbr>\nNeighborland.com, and establish a platform for ongoing online dialogue with the Bay Area community. Teams of fellows will develop community-driven art installations for public spaces, addressing particular social questions. They will curate vibrant community festivals, filling YBCA’s indoor and outdoor spaces with the creative multidisciplinary projects presenting themes of Freedom, Equity, and Citizenship that will result from this process. Together, YBCA, Neighborland, and the YBCA fellows will use art and creativity to drive new possibilities in the public imagination, as well as find specific, creative, community-driven solutions to specific community problems.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (a.k.a. ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Literature\u003cbr>\nTo support the publication and promotion of the journal. Reflecting a West Coast literary perspective, “ZYZZYVA” publishes fiction, poetry, and nonfiction by both emerging and established writers.\u003c/p>\n\u003ch3>City of San Jose, California (a.k.a. City of San Jose, Office of Cultural Affairs)\u003c/h3>\n\u003ch5>$50,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Local Arts Agencies\u003cbr>\nTo support the Neighborhood Gateway Galleries. The project is a citywide public art initiative that will transform highway underpasses into public art installations. Local artists and artist teams, selected through a competitive open call, will lead a series of public workshops and invite neighborhood residents to participate in the design process and creation of artworks. Final underpass designs will feature a unified, curated design that may incorporate the work of both the residents and the selected artists. The resulting public artworks will capture and enhance each neighborhood’s unique identity, foster increased pedestrian and cycling traffic, and develop connectivity among venues such as schools, community centers, businesses, and cultural attractions in ethnically diverse neighborhoods.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$40,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Folk & Traditional Arts\u003cbr>\nTo support the International Aimusic Festival. Firebird Youth Chinese Orchestra members, regional music groups, and master artists from China will present concerts, lectures, and master classes that will foster a deeper understanding and appreciation of Chinese opera. The youth orchestra will receive special musical instruction from Firebird faculty to prepare for the concerts, which will be presented without electronic amplification, allowing the audience to hear the music as it was originally intended to be heard.\u003c/p>\n\u003ch3>Opera San Jose, Inc. (a.k.a. Opera San Jose)\u003c/h3>\n\u003ch5>$20,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support performances of \u003cem>Silent Night\u003c/em> by composer Kevin Puts and librettist Mark Campbell. Winner of a 2012 Pulitzer Prize in Music, the opera is based on Christian Carion’s screenplay for the film \u003cem>Joyeux Noel\u003c/em>, and tells the story of enemy soldiers who spontaneously declared a temporary cease-fire on Christmas Eve 1914 to celebrate the holiday together and bury their dead. The work captures the dichotomy of love and war, and expresses the humanity of the characters and the comforts that friendship and music bring amidst the bloodiest and most inexplicable of human experiences. The creative team may include director Michael Shell, set designer Steven Kemp, costume designer Melissa Torchia, and lighting designer Pamila Gray. Conductor Joseph Marcheso will lead a cast of principal artists that may include tenors Kirk Dougherty and John Lindsay, and soprano Julie Adams. As many as eight performances will take place at the California Theatre in early 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (a.k.a. SJMAG)\u003c/h3>\n\u003ch5>$10,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support the performance of Rain Pryor’s \u003cem>Fried Chicken and Latkes\u003c/em>, and related activities. The play will be presented as a one-night performance, and will include a post-show conversation with Pryor. The project will serve African-Americans, Latinos, low-income families, and the Jewish community by offering a program that reflects the lives and experiences of this diverse community. High school students will attend the performance at no cost and have the opportunity to stay for an after-performance discussion on the themes of race relations and biracial heritage.\u003c/p>\n\u003ch3>Taiko Community Alliance\u003c/h3>\n\u003ch5>$10,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Folk & Traditional Arts\u003cbr>\nTo support the North American Taiko Conference. The conference will bring together performers, teachers, and enthusiasts of taiko drumming for workshops, discussion groups, demonstrations, jam sessions, and performances of taiko drumming. NEA National Heritage Fellows Roy and PJ Hirabayashi are scheduled to participate in discussion panels and performances.\u003c/p>\n\u003ch3>Bernard Osher Marin Jewish Community Center (aka Osher Marin JCC)\u003c/h3>\n\u003ch5>$10,000 / San Rafael, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support the Kanbar Music Series and the Summer Nights Festival. The year-long series will encompass more than 15 indoor and outdoor concerts at the Bernard Osher Marin Jewish Community Center featuring classical and chamber music, jazz, folk, and world music artists. Ancillary activities may include dance lessons, art activities for youth, audience discussions, or ice cream socials to encourage active community engagement. The outdoors Summer Nights Festival will be curated to include a wide variety of musical styles to attract families with young children as well as seniors and other underserved audiences. Free and discounted tickets will be made available to underserved audiences. Performers may include Chanticleer, the Kronos Quartet, violinist Nadja Salerno-Sonnenberg with the New Century Chamber Orchestra, and the Mill Valley Philharmonic.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 / Santa Cruz, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a concert series. As many as three performances will take place at the organization’s own venue. The proposed artists include NEA Jazz Master Dave Holland, Cecile McLorin Salvant, and John Scofield. Ancillary activities may include an artist conversation moderated by jazz journalist Andrew Gilbert.\u003c/p>\n\u003ch3>Museum of Art & History at the McPherson Center (a.k.a. Santa Cruz MAH)\u003c/h3>\n\u003ch5>$40,000 / Santa Cruz, CA\u003c/h5>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Creativity Connects\u003cbr>\nTo support \u003cem>Lost Childhoods\u003c/em>, a museum exhibition about foster youth in California, in partnership with the California Youth Connection (CYC). CYC, the Museum of Art & History (MAH), and artist Ray Bussolari will develop and present an exhibition featuring new and existing artwork co-created by artists, foster youth, and advocates. A group of former foster youth at CYC invented the Foster Youth Museum by collecting objects, such as photographs, from former foster youth. \u003cem>Lost Childhoods\u003c/em> will advance the Foster Youth Museum, professionalizing its design and extending its reach. This project is rooted in the MAH’s design and community engagement expertise, CYC’s content expertise, and the heroic, often tragic stories of foster youth. The new partnerships will become a model for creating engaging exhibitions on community issues, giving artists greater ability to pursue socially engaged work. In addition, foster youth will have a platform from which to tell their stories.\u003c/p>\n\n",
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"excerpt": "A lot is being cut in President Donald Trump's proposed budget , including the National Endowment for the Arts. ",
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"title": "New Federal Budget Cuts NEA, Ending Millions in Local Arts Funding | KQED",
"description": "A lot is being cut in President Donald Trump's proposed budget , including the National Endowment for the Arts. ",
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"headline": "New Federal Budget Cuts NEA, Ending Millions in Local Arts Funding",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new federal budget is due to be announced — and if passed, the United States government will cease funding for American-made art, ending a tradition that’s over 50 years old. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Thursday, President Donald Trump is expected to unveil a $1.15 trillion budget, which, among dozens of other cuts, completely eliminates the National Endowment for the Arts (NEA). The endowment has provided over $5 billion in grants to artists and arts organizations since its creation in 1965, and its \u003ca href=\"https://www.arts.gov/sites/default/files/nea-quick-facts.pdf\" target=\"_blank\" rel=\"noopener\">$147.9 million budget\u003c/a> currently makes up about .004 percent of annual government spending.\u003c/p>\n\u003cp>California alone sees hundreds of creative projects funded by the NEA each year. For fiscal year 2016, \u003ca href=\"https://ww2.kqed.org/arts/2015/12/08/nea-awards-27m-in-grants-for-2016-over-2m-for-bay-area-orgs/\" target=\"_blank\" rel=\"noopener\">over 80 grants\u003c/a> were awarded to Bay Area organizations, totaling over $2 million. This year, the amount budgeted for state projects is over \u003ca href=\"https://www.arts.gov/sites/default/files/fall-2016-grant-announcement-state-listing-revised3.pdf\" target=\"_blank\" rel=\"noopener\">$4.3 million\u003c/a>. \u003c/p>\n\u003cp>In recent years, NEA funding has gone to educational programs such as Oakland’s \u003ca href=\"https://www.destinyarts.org/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a>; culturally-focused organizations such as the \u003ca href=\"http://caamedia.org/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media\u003c/a> in San Francisco; and original works by dance groups like \u003ca href=\"http://bandaloop.org/\" target=\"_blank\" rel=\"noopener\">Bandaloop\u003c/a> and composers working with the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Over 70 local organizations won grants for fiscal year 2017. \u003c/p>\n\u003cfigure id=\"attachment_10306531\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-520x600.jpg\" alt=\"Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” Photo by Vanessa Avery.\" width=\"520\" height=\"600\" class=\"size-medium wp-image-10306531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-520x600.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-400x461.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped.jpg 800w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” Photo by Vanessa Avery. \u003ccite>(Vanessa Avery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget’s elimination of the NEA has been predicted \u003ca href=\"https://ww2.kqed.org/arts/2017/01/19/report-trump-administration-plans-to-privatize-cpb-cut-nea/\" target=\"_blank\" rel=\"noopener\">since January\u003c/a>. As Senate Majority Leader Mitch McConnell once put it, “\u003ca href=\"http://thehill.com/homenews/senate/320506-mcconnell-winners-make-policy-and-losers-go-home\" target=\"_blank\" rel=\"noopener\">winners make policy and losers go home,\u003c/a>” and the NEA has been a target of small-government conservatives \u003ca href=\"http://www.nytimes.com/1988/05/15/arts/book-discloses-that-reagan-planned-to-kill-national-endowment-for-arts.html\" target=\"_blank\" rel=\"noopener\">since the 1980s\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While arts organizations scramble to make up for the lost support, the proposed federal budget increases funding for the military by $54 billion, the largest boost since the Reagan era. The budget also earmarks $2.6 billion as a first payment on the proposed U.S.-Mexico border wall, which is expected to cost a total of \u003ca href=\"http://www.reuters.com/article/us-usa-trump-immigration-wall-exclusive-idUSKBN15O2ZN\" target=\"_blank\" rel=\"noopener\">$21.6 billion\u003c/a>.\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Jane Chu, Chairman of the National Endowment for the Arts, \u003ca href=\"https://www.arts.gov/news/2017/statement-national-endowment-arts-chairman-jane-chu-fy-18-budget\" target=\"_blank\" rel=\"noopener\">released this statement\u003c/a> after the 2018 proposed Federal Budget was announced:\u003c/p>\n\u003cblockquote>\u003cp>Today we learned that the President’s FY 2018 budget blueprint proposes the elimination of the National Endowment for the Arts. We are disappointed because we see our funding actively making a difference with individuals of all ages in thousands of communities, large, small, urban and rural, and in every Congressional District in the nation.\u003c/p>\n\u003cp>We understand that the President’s budget request is a first step in a very long budget process; as part of that process we are working with the Office of Management and Budget (OMB) to prepare information they have requested. At this time, the NEA continues to operate as usual and will do so until a new budget is enacted by Congress.\u003c/p>\n\u003cp>We expect this news to be an active topic of discussion among individuals and organizations that advocate for the arts. As a federal government agency, the NEA cannot engage in advocacy, either directly or indirectly. We will, however, continue our practice of educating about the NEA’s vital role in serving our nation’s communities.\n\u003c/p>\u003c/blockquote>\n\u003cp>(\u003ca href=\"https://www.arts.gov/sites/default/files/fall-2016-grant-announcement-state-listing-revised3.pdf\" target=\"_blank\" rel=\"noopener\">See all of the NEA’s FY 2017 grants winners here\u003c/a>.)\u003c/p>\n\u003cp>\u003ci>Below is a list of Bay Area organizations slated to receive 2017 NEA grants, which were announced in December of last year:\u003c/i> \u003c/p>\n\u003ch3>Berkeley Repertory Theatre (a.k.a. Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The center represents Berkeley Repertory Theatre’s efforts to sustain and develop relationships with both emerging and mature artists. The project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Kala Institute (a.k.a. Kala Art Institute)\u003c/h3>\n\u003ch5>$15,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Artist Communities\u003cbr>\nTo support artist residencies and related activities. U.S. and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (a.k.a. Telluride Film Festival)\u003c/h3>\n\u003ch5>$20,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held in the fall, the event includes the presentation of feature-length and short films from the United States and around the world, accompanied by panel discussions, retrospectives, artist tributes, and educational programs. Recent festivals have included the premieres of films such as\u003cbr>\n\u003cem>Spotlight\u003c/em>, \u003cem>The Artist\u003c/em>, \u003cem>The Imitation Game\u003c/em>, \u003cem>He Named Me Malala\u003c/em>, \u003cem>Son of Saul\u003c/em>, and \u003cem>Room\u003c/em>.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Pacific Film Archive)\u003c/h3>\n\u003ch5>$25,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support “Out of the Vault: Exploring Archival Treasures from the Pacific Film Archive (PFA) Collection.” This project will provide public exposure to archival treasures from the PFA collection through PFA’s exhibition program, film collection, and library research center. Local and international artists, curators, and scholars will convene during screenings of works from Pacific Film Archive’s collection, including features on Asian cinema, experimental film, and works from the former Soviet Union. In residencies that accompany each curated series, visiting artists and scholars will collaborate with local filmmakers and field experts to participate in lectures, panel discussions, and the creation of new written works, such as interpretive and scholarly essays aimed to increase the audience’s understanding of different approaches to film structure, style, and creative process. Audiences will have access to the interpretive resources generated through the project, such as the written works on the PFA website and online database of more than 56,500 film-related documents, many of which are unavailable elsewhere online.\u003c/p>\n\u003ch3>Small Press Distribution, Inc. (a.k.a. SPD)\u003c/h3>\n\u003ch5>$75,000 / Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Literature\u003cbr>\nTo support services to literary small press publishers, including the distribution and marketing of books. Services include the creation of an online presence for each title; management of metadata; imaginative marketing; warehousing; the fulfillment of orders; and customized advice. Providing an essential pathway between publishers and booksellers, librarians, and individual readers, the project will be instrumental in keeping small press publishers competitive in today’s market.\u003c/p>\n\u003ch3>Alameda County Office of Education (a.k.a. ACOE)\u003c/h3>\n\u003ch5>$50,000 / Hayward, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support Inspiring Creative Communities, a collective impact project. The Alliance for Arts Learning Leadership, a collaborative of arts and education agencies and community partners in seven counties in the San Francisco Bay Area, will develop and share best strategies for arts education, expand data collection and analysis, and propose that Title I funds be allocated for the arts through the California state Local Control Accountability Plan. The Alliance for Arts Learning Leadership also will work with a coach to move a system from incremental change thinking to transformational change thinking.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (a.k.a. Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 Healdsburg, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support tributes to the Heath brothers and NEA Jazz Master Bobby Hutcherson. Programming plans for the two-day festival will include a small ensemble performance by NEA Jazz Master Jimmy Heath and his brother Albert “Tootie” Heath.The tribute to the late Bobby Hutcherson will feature vibraphonist Steve Nelson alongside\u003cbr>\nRenee Rosnes, Ray Drummond, and Victor Lewis for the presentation of a repertoire comprised of Hutcherson’s compositions as well as recent works dedicated to him.\u003c/p>\n\u003ch3>Marin Theatre Company (a.k.a. MTC)\u003c/h3>\n\u003ch5>$20,000 / Mill Valley, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the production of “Native Son” by Nambi E. Kelley. Adapted from the 1940 novel by Richard Wright, the play portrays an impoverished African-American youth in 1930s Chicago. He dares to want more in his life and a new job leads to an accident that sends him down a violent path and prison. The 80-year-old story about race and class will resonate with challenges facing contemporary America. High school students will experience special matinee performances and the theater will host symposia on race, class, and history.\u003c/p>\n\u003ch3>Monterey Jazz Festival\u003c/h3>\n\u003ch5>$30,000 / Monterey, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support the 60th annual Monterey Jazz Festival. Emerging and established musicians, including at least one NEA Jazz Master, will appear in as many as 70 performances on multiple stages during the three-day festival. Past performers include NEA Jazz Masters Toshiko Akiyoshi, Carla Bley, Branford Marsalis, Wayne Shorter, and Gerald Wilson. Ancillary festival programming will include jazz-focused panel discussions, films, exhibits, and artist interview sessions. Several artists are under consideration as the 2017 commissioning and showcase artists as well as for a year-long artist residency, which includes a guest appearance at the 2017 Next Generation Jazz Festival; an instructor role at the MJF Summer Jazz Camp; and a festival performance with the Next Generation Jazz Orchestra, a big band comprised of preeminent high school musicians from across the nation. Many of the festival performances will be streamed live for worldwide audiences.\u003c/p>\n\u003ch3>AXIS Dance Company (a.k.a. AXIS)\u003c/h3>\n\u003ch5>$20,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support Dance Access education and outreach programs. AXIS will offer a variety of events in the Bay Area and on a national tour for youth and adults with and without disabilities who are based locally and nationally. Project activities may include dance classes, professional-level dance training, teacher training, a dance apprentice program for students with spinal cord injuries, community workshops, lecture-demonstrations, live and virtual interaction with performance, and building creative dance skills.\u003c/p>\n\u003ch3>California College of the Arts\u003c/h3>\n\u003ch5>$20,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Visual Arts\u003cbr>\nTo support the group exhibition and catalogue for “Mechanisms” at the Wattis Institute for Contemporary Arts. Through sculpture, photography, video, painting, and site-specific installation, the exhibition will explore how everyday technologies affect modern life. It is anticipated that the exhibition will appeal to a wide range of people, including tourists to the Bay Area, the technology community, and the college’s community of students, faculty, and staff. Public programs, including lectures, workshops, performances, and panel discussions will accompany the exhibition.\u003c/p>\n\u003ch3>Destiny Arts Center (a.k.a. Destiny Arts or Destiny)\u003c/h3>\n\u003ch5>$15,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the Destiny Arts Youth Performance Company. Teenagers from diverse cultural and socioeconomic backgrounds will train intensively with professional dancers, choreographers, and theater artists to create and perform work around the Bay Area. The work will be based on personal narrative and social change. Performance measures follow a logic model, which gives equal weight to youth development outcomes and\u003cbr>\nartistic learning.\u003c/p>\n\u003ch3>Islamic Cultural Center of Northern California (ICCNC) (a.k.a. ICCNC)\u003c/h3>\n\u003ch5>$10,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support a series of project incubations for Muslim-American artists and related public presentations. The participating artists will include hip-hop poet Amir Suleiman, artist/curator Arash Shirinbab, comedienne Zahra Noorbaksh, and filmmakers Sabereh Kashi and Raeshma Razvi. Project activities will include artist-led workshops\u003cbr>\nand lectures. Each artist’s performance or exhibition will include opportunities for the audience to ask questions and discuss the project with the artist. There will be as many as 10 events – five public screenings, exhibitions, or performances and five artist-led workshops, dialogue groups, or other educational opportunities for the public, including members of the area’s diverse Persian, African-American, and Afghani communities.\u003c/p>\n\u003ch3>Kunz, Edgar\u003c/h3>\n\u003ch5>$25,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Creative Writing Fellowship\u003c/strong>\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support: In the Name of Love, the 15th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will feature San Francisco Bay Area vocalists Kenny Washington; Will Russ, Jr.; Terrie Odabi; Destani Wolf; and Luq Frank as well as the 70-voice Oakland Interfaith Gospel Choir and the 300-voice choir from the Living Jazz Children’s Project. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist Marvin Gaye.\u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (a.k.a. OIGC)\u003c/h3>\n\u003ch5>$10,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature Hawkins, vocalists Calvin B. Rhone and Linda Tillery, and guest choirs from the U.S. and abroad. Hawkins\u003cbr>\nwill also premiere a new composition and conduct a performance by the International Interfaith Gospel Music Choir. Associated outreach activities will include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists.\u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$20,000 / Oakland, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support rehearsal and preparation of dance works for a national tour. Bandaloop will tour “#PublicCanvas,” a large-scale multimedia vertical dance collaboration by media artist Jonathan Rowe of Madrone Studios/The Village, choreographer Amelia Rudolph, and animator GMUNK. The work will premiere at #SFPublicCanvas, a site-specific platform for community content and vertical dance. “Dances from Thin Air” will layer film of natural spaces, dance filmed in nature, and live dance in a dynamic vertical performance. Footage will be drawn from Rudolph’s recent “SHIFT,” a site-specific dance/film project made in the Sierra Nevada Mountains, and from “Coyote Waltzes,” a work created and filmed in Yosemite National Park. “Dances from Thin Air” will bring Bandaloop’s signature integration of climbing technology and vertical dance made in remote locations to large, urban audiences.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (a.k.a. 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The event is a multi-day festival screening feature films, documentaries, and short films – classic and contemporary – by South Asian filmmakers from around the world. The festival will spotlight screenings and programming featuring India’s Dalit community. Programming will also include panel discussions, and will feature proposed guest artist filmmaker Nagraj Manjule (India).\u003c/p>\n\u003ch3>American Conservatory Theatre Foundation (a.k.a. American Conservatory Theater (A.C.T.))\u003c/h3>\n\u003ch5>$50,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support a production of “A Thousand Splendid Suns” by Ursula Rani Sarma. The adaptation of the novel by Khaled Hosseini is set in contemporary Afghanistan, and explores a friendship between two women from different backgrounds. Together they struggle to survive sectarian violence and changing political winds. The story reveals Afghan class and gender politics and confronts misconceptions about the roles of women in Middle Eastern cultures. Afghan artist Humaira Ghilzai may serve as a cultural consultant for the project to provide historical accuracy and assist in outreach efforts to the communities represented in the play.\u003c/p>\n\u003ch3>Art of the Matter Performance Foundation (a.k.a. Deborah Slater Dance Theater)\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation of a new work “Love/Over Time,” by Artistic Director Deborah Slater. Slater will collaborate with composer/performer Darren Johnston and lighting/set designer Allen Willner to investigate the idea of “love over time.” Working with StoryCorps, and through interviews with centenarians, aging boomers,\u003cbr>\nand millennials, the work will demonstrate life’s complexity of change, aging, enduring loss, and how we are transformed by these experiences. Project activities may include workshops led by Slater and Johnston, lecture demonstrations, and performances at senior centers, George Washington High School, and Studio 210.\u003c/p>\n\u003cp><h3Bay Area Video Coalition, Inc. (a.k.a. BAVC)\n\u003c/p>\u003ch5>$55,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made accessible to the public for live and online exhibitions. Approximately\u003cbr>\n700 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include the Trisha Brown Dance Company,\u003cbr>\nChicago Film Archives, The Poetry Center of San Francisco State University, and Public Square Films.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, \u003cem>Zoom In\u003c/em>.\u003c/p>\n\u003ch3>California Lawyers for the Arts, Inc.\u003c/h3>\n\u003ch5>$35,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Local Arts Agencies\u003cbr>\nTo support artist residencies in county jails. The organization will provide technical assistance, recruitment and training of artists, and program outreach to local law enforcement. It will work with local arts agencies in several California communities to enable the inclusion of arts programming as a rehabilitative tool in county jails.\u003c/p>\n\u003ch3>Canyon Cinema Foundation (a.k.a. Canyon Cinema)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support an exhibition and touring program celebrating the 50th anniversary of film distributor Canyon Cinema. Dedicated to independent and experimental media art, works from the Canyon Cinema collection, many in 16mm format, will be selected for restoration, digitization, and exhibition. Visiting filmmakers and staff will participate in discussions accompanying the screenings, featuring work by artists such as Chick Strand, Robert Nelson, Leann Bartok, and David Lebrun. The exhibition also will tour to venues across the country in cities such as Chicago, Illinois; Louisville, Kentucky; and Rochester, New York.\u003c/p>\n\u003ch3>Center for Asian American Media (a.k.a. CAAM)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the CAAMFest, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Oakland, and San Jose, CAAMFest showcases documentary, narrative, animated and experimental works in film and video, as well as live events, multi-media performances, and expanded ventures into the music and culinary arts worlds. Festival attendees will have the opportunity to participate in activities and curated experiences that provide a deeper context of Asian-American filmmaking and gain a greater understanding of the diversity and richness of contemporary Asian-American cultural voices through educational panels and discussions. Additional festival programming may include free screenings of curated films from Muslim Youth Voices, a three-year national initiative of the Center for Asian American Media (CAAM); and Memories to Light: Asian American Home Movies, featuring a collection of films from California’s Central Valley rural farming\u003cbr>\ncommunities.\u003c/p>\n\u003ch3>Center for New Music San Francisco, Inc. (a.k.a. Center for New Music)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support Soundvoice, a series of music workshops. The workshop participants will include residents of San Francisco’s Tenderloin, Sixth Street Corridor, and Mid-Market neighborhoods struggling with homelessness and poverty. Professional musicians will provide music education and creation opportunities focused on the field of new music; the project will culminate with a public performance.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books, published through Two Line Press, will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Corporation of the Fine Arts Museums (a.k.a. Fine Arts Museums of San Francisco)\u003c/h3>\n\u003ch5>$60,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Museum\u003cbr>\nTo support “Stuart Davis: In Full Swing,” and related educational and public programming. Co-organized by the Whitney Museum of American Art and the National Gallery of Art, the traveling exhibition pays tribute to Stuart Davis (1892-1964), one of the most important innovators in the evolution of American modernism and abstraction. With approximately 75 works on display, ranging from his early paintings of commercial products from the 1920s, to the canvas that was on his easel at the time of his death, the exhibition highlights Davis’s unique ability to assimilate pop culture influences — the aesthetics of advertising and the rhythms of jazz — with the lessons of Cubism. The de Young will be the only exhibition venue west of the Mississippi. Comprehensive public programming at the de Young is planned to complement the exhibition, including a month-long residency for a local artist.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$20,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the Artist Residency and Commissioning (ARC) Program. The program identifies local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience and provides space and support for those artists to create new works. The ARC Program supports as many as three, five-month residencies during which artists will create and perform new works. ARC provides three annual residency tracks for dance and performing artists: Edge, focusing on disruptive contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and technologically engaged work. Activities include work-in-progress showings where residents and the public provide feedback on the work, as well as a mentor for each resident artist. After the residency period, ARC may offer services such as fiscal sponsorship, and technical and administrative support.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (a.k.a. Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “A Tale of Autumn” by Christopher Chen. A modern-day fable explores themes of political power, notions of cultural hierarchy, and the power of corporate personhood in present day capitalism. Chen unveils the psychology of a one-time altruistic corporation whose seemingly benign tactics destroy a people over time. A Machiavellian and intricate power network of characters aspire for leadership and an insurgent populace is devastated by the collateral damage of the “corporate game.” The commissioned work is inspired by Shakespeare’s \u003cem>Richard III\u003c/em> and \u003cem>Macbeth\u003c/em> and popular “quest-for-power” TV shows.\u003c/p>\n\u003ch3>Dancers’ Group (a.k.a. Dancers’ Group)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support “In Dance,” a free print and online monthly publication that promotes dance artists in the San Francisco Bay Area. The publication includes a comprehensive performance calendar, summer workshop guide, articles, previews of dance companies, feature articles, personal perspectives on dance, and special interviews and features. Articles give readers an in-depth, behind-the-scenes look at the work being created by the region’s artists and by those in other parts of the country as well.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$100,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Creativity Connects\u003cbr>\nTo support Artistic Practice towards Urban Resilience (APUR), in partnership with the Department of Civil and Environmental Engineering at the University of California, Berkeley. APUR will immerse artists in a multi-scale investigation of transportation systems, community, and governance related to the impacts of climate change in the San Francisco Bay Area. In conjunction with the Resilience of Infrastructure as Seas Rise (RISeR) project-a consortium of academic institutions, research labs, nonprofits, and government entities-APUR will explore how artists approach the problem of sea level rise and its impact on city infrastructure, as well as how artistic conceptualization of climate data can inform, inspire, and empower communities at risk. The project will include a colloquium connecting professional artists directly with scientists to investigate how artistic approaches can further community engagement and learning. Through a collaborative residency, selected artists will develop prototypes of platforms and data presentations to support a public education and resiliency campaign.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (a.k.a. San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Presenting & Multidisciplinary Works\u003cbr>\nTo support the San Francisco International Arts Festival and related activities. The nearly 3-week festival will feature about 180 performances by artists from the Bay Area and approximately 14 different countries. Most artists will engage in one- or two-week residencies that typically includes three or four performances a week, and at least one educational or outreach activity. All artists will be asked to present a master class or lecture that the general public can attend at no cost.\u003c/p>\n\u003ch3>Flyaway Productions\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation and presentation of “The Credibility Project.” The site-specific performance will bring awareness through aerial dance and dialogue to a serious sociopolitical issue: a lack of credibility for women. Proposed collaborators include photojournalist Lynn Johnson and hip-hop composer MADLINES. Free performances will premiere in San Francisco’s Tenderloin neighborhood on a wall owned by the University of California’s Hastings Law School. This will be Flyaway’s fourth community responsive project in the Tenderloin since 2012.\u003c/p>\n\u003ch3>Frameline (a.k.a. San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. Feature-length and short films representing the LGBTQ community will be screened at each venue, followed by discussions with filmmakers, artists, critics, authors, educators, and community activists. In 2017, Frameline will continue its expansion to include Santa Clara, San Jose, and surrounding areas in the South Bay. All screenings are free and open to the public. Previous program screenings include \u003cem>Margarita with a Straw\u003c/em> by Shonali Bose and “Back on Board: Greg Louganis” by Cheryl Furjanic.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the ReOrient Theatre Festival and Forum. The project will include a festival of short plays and a forum of panel discussions about theater and the Middle East. The festival will serve as a springboard for the careers of emerging Middle Eastern-American playwrights and will introduce audiences to significant dramatic\u003cbr>\nworks from the Middle East by authors rarely produced in the United States. Through the project, Golden Thread will create engagement opportunities for artists, academics, and both national and international audiences.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (a.k.a. Cultural Odyssey)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the tour of \u003cem>Fully Awake, Facing Seventy: Heaven Betta Be a Honky-Tonk!\u003c/em> A cabaret with live music celebrates Cultural Odyssey Co-Artistic Director Rhodessa Jones’ new status as a senior citizen and her career as a professional artist and community activist. It is written and performed by Jones with musical direction and performance by Co-Artistic Director Idris Ackamoor with a trio of musicians. The issues and experiences of the aging process for women are addressed through her writing and performance. The duo will celebrate their 40th anniversary as a performance ensemble and will tour the full-length autobiographical work nationally.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (a.k.a. The Kitchen Sisters)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cem>Art Works \u003c/em>– Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio by producers Davia Nelson and Nikki Silva, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution,\u003cbr>\nand made available for public access through the podcast and additional digital platforms. Featured episodes will cover topics such as a profile of Brazilian author Jorge Amado, the effects of World War II internment on Japanese American cooking, and the legacy of inventor Preston Tucker and his “Car of Tomorrow.”\u003c/p>\n\u003ch3>Kronos Performing Arts Association (a.k.a. Kronos Quartet)\u003c/h3>\n\u003ch5>$45,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a tour of a new work by composer Jonathan Berger and librettist Harriet Scott Chessman performed by the Kronos Quartet. The work, titled “My Lai” will mark the 50th anniversary of the My Lai Massacre in South Vietnam. The performances will feature tenor Rinde Eckert and Vietnamese musician Van-Anh Vanessa Vo. In addition to traditional instruments such as the dan Bau, a one-stringed zither, and a bamboo xylophone called the dan T’rung, Vo also will perform on a set of percussion instruments made from spent shell casings. Likely venues may include the Center for the Art of Performance at the University of California Los Angeles; Hopkins Center for the Arts at Dartmouth College in Hanover, New Hampshire; and Texas Performing Arts at the University of Texas at Austin. Educational activities will include panel discussions, artist talks, and question-and-answer sessions.\u003c/p>\n\u003ch3>Magic Theatre, Inc. (a.k.a. Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Theater & Musical Theater\u003cbr>\nTo support the premiere of “Grandeur” by Han Ong. The play is inspired by the life of Gil Scott-Heron, frequently referred to as the “father” of hip-hop by the new generation of rappers. In 2010, a year before his death, ScottHeron was profiled in The New Yorker magazine. He emerged from the article as an enigmatic subject, both\u003cbr>\nastute and tragic, having succumbed to an addiction to crack cocaine in the 1990s. Ong portrays a young reporter who ruminates on his idol Scott-Heron, his pattern of self-destruction, Black masculinity, and the cultural legacy of Scott-Heron’s life and music.\u003c/p>\n\u003ch3>Mixed Bag Productions (a.k.a. Sara Shelton Mann)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Dance\u003cbr>\nTo support the creation and presentation of a new evening-length piece, \u003cem>The Invitation\u003c/em>, by Artistic Director Sara Shelton Mann. Made up of two intertwined duets, Mann will return to some earlier choreographic techniques to create the movement for this work-that of phrasing and complicated rhythms-placed within new research of how she may speak to the fast-paced information that surrounds us every day. The basic premise of the piece is simple: dancing for the joy of it; dancing as the meaning in itself and the touch it explores. “The Invitation” will premiere at Joe Goode Annex in the Mission Neighborhood of San Francisco.\u003c/p>\n\u003ch3>ODC (a.k.a. ODC/Dance)\u003c/h3>\n\u003ch5>$20,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director KT Nelson will choreograph the first phase of a new work, titled, \u003cem>Reimagining Heritage\u003c/em>. Founder and Artistic Director Brenda Way will create a new chamber work with music drawn from the David Lang catalogue. ODC will work with presenters and local organizations to develop outreach activities to increase engagement, such as lecture-demonstrations and balcony talks. These new works will premiere in ODC’s annual Dance Downtown season at Yerba Buena Center for the Arts in San Francisco.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support presentation of dance works by local, national, and international artists. ODC Theater will expand the Walking Distance Dance Festival-SF to feature an increased number of performances in a fringe-format. Additional performance highlights will include the world premiere of Monique Jenkinson’s \u003cem>Delicate Material\u003c/em>, which questions how society views gender and misogyny, and free site-specific performances by Joanna Haigood/Zaccho Dance Theater in partnership with the African American Performing Arts Coaltion and the Joe Goode Annex. ODC Theater will take these dance experiences beyond performance by offering master classes, pre- and post-performance talks, and a performance docent program that will offer free tickets to local artists\u003cbr>\nand academics who are willing to engage in one-on-one conversations with audience members.\u003c/p>\n\u003ch3>Other Minds\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a performance project celebrating the life and music of American composer Lou Harrison. Titled “Just 100: Homage to Lou Harrison,” the project activities will include performances, panel discussions, and exhibitions. Participating in the centenary celebration may be artists such as Dennis Russell Davies, Bruckner Orchestra, pianist Maki Namekawa, violinist Yumi Hwang-Williams, percussion ensemble William Winant Ensemble, harpist Meredith Clark, cellist Emil Miland, and the Mission Dolores, Voci, and Resound choruses. Panelists may include musicians and scholars such as Robert Hughes, Bill Alves, Leta Miller, Paul Dresher, Giacomo Fiore, John Kennedy, John Luther Adams, Peter Garland, and Jody Diamond. Events will be presented in San Francisco and Santa Cruz.\u003c/p>\n\u003ch3>Parallele Ensemble Corporation (a.k.a. Opera Parallele)\u003c/h3>\n\u003ch5>$22,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support a new production of “Les Enfants Terribles” by composer and NEA Opera Honoree Philip Glass at Opera Parallele. Based on novel of the same name by Jean Cocteau (1929), this tragic story follows siblings Paul and Elisabeth through what began as a childhood game and ends in death and destruction. The third installment\u003cbr>\nof the composer’s trilogy of works based on Cocteau, with this work Glass invented a hybrid dance-opera form in which the dance element is not secondary or decorative, but rather contributes to the narrative flow and soundscape of the opera. The creative team may include director Brian Staufenbiel, conductor Nicole Paiement, media\u003cbr>\ndesigner David Murakami, and choreographer Amy Seiwert. Performances will take place at the Caroline H. Hume Concert Hall in San Francisco in the spring of 2017.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (a.k.a. Philharmonia)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support performances of “Le Temple de la Gloire” by composer John-Philippe Rameau with a libretto by Voltaire. Premiered as a five-act opera-ballet at Versailles to celebrate the French victory of the Battle of Fontenoy, the work was subsequently revised to a three-act opera. The performances-of the original version that has not been performed since the premiere in 1745-will mark the company’s first fully staged opera and will include a full orchestra, chorale, six principal singers, and eight baroque dancers. Organizational partners Cal Performances and Centre de Musique Baroque de Versailles (Versailles, France) will help develop a series of lectures and excerpted performances for University of California at Berkeley students. In addition, talks with the costume designers, set designers, and musicologists from UC Berkeley and Stanford will be hosted by reporters and hosts from the NPR affiliate in San Francisco as well as KDFC. As many as three performances will occur at the Zellerbach Hall on the UC Berkeley campus in the spring of 2017.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (a.k.a. Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in\u003cbr>\ndevelopment at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend during which national new play producers will be invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>Robert Moses Kin\u003c/h3>\n\u003ch5>$10,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Trap Doors/Painted Corners/Trick Bags\u003c/em>, a new work by Artistic Director Robert Moses. The piece will explore the parallel paths taken from childhood to adulthood, based on race and possibility, and will look at the displacement, disconnection, and lifetime of personal disparity that results from these separate paths. To develop the work, Moses will reach out to organizations such as the National Black Police Association, San Francisco Police Activities League, and Youth Speaks. \u003cem>Trap Doors/Painted Corners/Trick Bags\u003c/em> will be a triptych and premiere in three parts: onstage at Yerba Buena Center for the Arts;\u003cbr>\noutside at the famous Powell Street cable car turn-around; and in the historically African-American and now\u003cbr>\nchanging Bayview neighborhood of San Francisco.\u003c/p>\n\u003ch3>Root Division\u003c/h3>\n\u003ch5>$20,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Visual Arts\u003cbr>\nTo support the Second Saturday Exhibition Series. The project is a collection of visual arts events and presentations of work by Bay Area artists. Local artists will present works that explore contemporary ideas and current social concerns in a variety of media including painting, drawing, sculpture, photography, installation, video, film, new media, and performance work. The series will include more than 350 artists, and will engage the public through open gallery hours, artist panels, and related public programming.\u003c/p>\n\u003ch3>San Francisco Art and Film Program (a.k.a. SF Art & Film)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the Teen Film Workshop. The media arts education project will prepare students for film school and\u003cbr>\ntrain them for careers in the film industry. Students will participate in lectures and film viewings, which will\u003cbr>\nprovide them with a foundation in theory; they then will apply what they have learned as they design and\u003cbr>\nproduce individual films and a group film. The program will culminate in the presentation of student work at the San Francisco Art Institute.\u003c/p>\n\u003ch3>San Francisco Cinematheque\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support Crossroads 2017, a festival dedicated to experimental media arts. Held in the spring, the festival presents avant-garde and experimental works, including film, video, live cinema performance, and media art installation. Crossroads generally showcases new work made within the last two years, highlighting contemporary artistic and curatorial trends within the avant-garde and experimental landscape. Previous\u003cbr>\nfestivals have included works from the United States, Palestine, Germany, and Sweden, and such artists as Basma Alsharif, Craig Baldwin, Grouper, Jodie Mack, Jeremy Moss, Margaret Rorison, and Ben Russell.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (a.k.a. SFCMP)\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a performance project celebrating the legacy of American composer Lou Harrison. The project, titled “A Lou Harrison Centennial Celebration,” will comprise tributes to Harrison, composer talks, and concerts featuring the works of Harrison. Programming will include the participation of composers Jimmy Lopez and Natacha Diels. Activities will take place at Z Space in San Francisco.\u003c/p>\n\u003ch3>San Francisco Film Society (a.k.a. SFFS)\u003c/h3>\n\u003ch5>$20,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the 60th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, accompanied by live performances and educational programs. Throughout the year, additional presentations will include contemporary works from Hong Kong, a food and film series in partnership with the Jewish Community Center of San Francisco, and the Screenings in Schools program, in which students view films and engage with artists in person or over Skype.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (a.k.a. SFJAZZ)\u003c/h3>\n\u003ch5>$40,000 San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works \u003c/strong>– Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by octet members and arrangements of music by Miles Davis. During its 2017 national tour, the ensemble will perform and engage in outreach events including master classes for young musicians. Confirmed tour stops include the Ferst Center for the Arts in Atlanta, Georgia; Chicago Symphony Center in Chicago, Illinois; Ferring Jazz Bistro, in St. Louis, Missouri; Miller Theatre at Columbia University in New York, New York; Annenberg Center for the Performing Arts in Philadelphia, Pennsylvania; and Brooks Center for the Arts at Clemson University in Clemson, South Carolina.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (a.k.a. Jewish Film Institute)\u003c/h3>\n\u003ch5>$15,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Media Arts\u003cbr>\nTo support the 37th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Curatorial collaboration with media art organizations such as Frameline and the Center for Asian American Media will provide audiences with thematic programs that explore the ethnic, racial, and religious diversity of the Jewish experience. Recent films screened at the festival include \u003cem>Regarding Susan Sontag\u003c/em> by Nancy Kates, \u003cem>Dough\u003c/em> by John Goldschmidt, \u003cem>Autism in Love\u003c/em> by Matt Fuller, and \u003cem>Peggy Guggenheim: Art Addict\u003c/em> by Lisa Vreeland.\u003c/p>\n\u003ch3>San Francisco Museum of Modern Art (a.k.a. SFMOMA)\u003c/h3>\n\u003ch5>$30,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Museum\u003cbr>\nTo support the “Matisse/Diebenkorn” exhibition and related programming. Co-organized with the Baltimore Museum of Art, the exhibition will feature approximately 60 drawings and paintings by Henri Matisse (1869-1954) and approximately 60 works by Richard Diebenkorn (1922-93), creatively juxtaposing and pairing the artists’ works to articulate the influence of Matisse on Diebenkorn. Free school tours, educational outreach activities, exhibition mobile guides, and other programs will enhance the experience for thousands of audience members.\u003c/p>\n\u003ch3>San Francisco Opera Association (a.k.a. San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support the world premiere of \u003cem>Girls of the Golden West\u003c/em> by composer and NEA Opera Honoree John Adams and librettist Peter Sellars. The opera interweaves the true stories of three women during the Gold Rush whose lives intersect in a small mining community of the Sierra Mountains in 1850. The creative team may include set designer Adrianne Lobel, costume designer Rita Ryack, and lighting designer James F. Ingalls. The cast may include sopranos Julia Bullock and Jung Lee, mezzo-soprano J’nai Bridges, tenor Paul Appleby, and baritones Davone Tines and Elliot Madore. Outreach activities will be planned in partnership with the California Historical Society and UC Berkeley Library Archival Department; Stanford University’s Women’s Club will provide context for the role of women in the Gold Rush; and the Mechanics Institute Library will lead a discussion about the process of mining in the 1850s. A co-production with Dallas Opera, Dutch National Opera (Amsterdam, Netherlands), and Teatro La Fenice (Venezia, Italy), as many as seven performances will be presented in the fall of 2017 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Symphony (a.k.a. SFS)\u003c/h3>\n\u003ch5>$85,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a performance project celebrating the 70th birthday of composer John Adams. Under the direction of Artistic Director Michael Tilson Thomas, the project will feature the performances of recent works by Adams including the oratorio “The Gospel According to the Other Mary,” which will be performed with conductor Joana Carneiro, music director of the Berkeley Symphony, guest artists Kelley O’Connor, Tamara Mumford, Jay Hunter Morris, and the San Francisco Symphony Chorus; and “Scheherezade.2” with guest artist, violinist Leila Josefowicz, for whom the concerto-like work was originally written. The compositions will be the center of lectures and community events that focus both on the roles of women in traditional narratives and how such themes fit into the composer’s socially and politically engaged body of work. The concerts will be presented at Davies Symphony Hall.\u003c/p>\n\u003ch3>San Francisco Symphony (a.k.a. SFS) (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$20,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the Artist Development Program of the San Francisco Symphony Youth Orchestra. Professional musicians provide in-depth engagement with orchestral music to students free-of-charge, as a complement to the Youth Orchestra’s weekly rehearsals and concert series. Program components include intensive coaching, collaboration with guest artists, apprenticeships, mentoring, and training in chamber music and audition techniques. All program activity serves all Youth Orchestra students, and students are able to experience live music at a professional level by attending San Francisco Symphony concerts throughout the year.\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. Participants, selected by a rotating curatorial committee, will receive conceptual, logistical, and administrative support, a stipend, and a materials budget to develop their work.\u003c/p>\n\u003ch3>Stein, Melissa\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Creative Writing Fellowship\u003c/strong>\u003c/p>\n\u003ch3>Stern Grove Festival Association (a.k.a. Stern Grove Festival)\u003c/h3>\n\u003ch5>$40,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Local artists from various disciplines will be commissioned to create and perform site-specific works. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>Women’s Audio Mission (a.k.a. WAM)\u003c/h3>\n\u003ch5>$25,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (a.k.a. San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Dance\u003cbr>\nTo support the 39th annual San Francisco Ethnic Dance Festival. The festival will present more than 30 world dance companies based in Northern California and provide underserved artists with the opportunity to perform in a professional setting. An adjudication panel comprising teachers, performers, and ethnologists will select dance artists and companies whose work is rooted in a cultural tradition. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (a.k.a. Yerba Buena Gardens Festival)\u003c/h3>\n\u003ch5>$35,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees and staff travel associated with the Yerba Buena Gardens Festival. The free outdoor series will include the creation and presentation of new works by artists in circus arts, world music, dance, theater, and Latin jazz, among others. In addition to performances, lectures and demonstrations by festival artists will be offered in collaboration with community partners.\u003c/p>\n\u003ch3>Yerba Buena Center for the Arts (a.k.a. YBCA)\u003c/h3>\n\u003ch5>$90,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Creativity Connects\u003cbr>\nTo support Citizenship 2.0, in partnership with Neighborland, an online civic communications platform. The collaboration will focus on integrating the arts and technology to spur community participation and civic action leading to positive change in San Francisco and the Bay Area. A cohort of YBCA fellows, as many as 90 diverse thought leaders, will participate in a paid collective research opportunity investigating current social questions. Guided by YBCA and Neighborland, the fellows will hold quarterly cohort meetings, create project web pages on\u003cbr>\nNeighborland.com, and establish a platform for ongoing online dialogue with the Bay Area community. Teams of fellows will develop community-driven art installations for public spaces, addressing particular social questions. They will curate vibrant community festivals, filling YBCA’s indoor and outdoor spaces with the creative multidisciplinary projects presenting themes of Freedom, Equity, and Citizenship that will result from this process. Together, YBCA, Neighborland, and the YBCA fellows will use art and creativity to drive new possibilities in the public imagination, as well as find specific, creative, community-driven solutions to specific community problems.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (a.k.a. ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 / San Francisco, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Literature\u003cbr>\nTo support the publication and promotion of the journal. Reflecting a West Coast literary perspective, “ZYZZYVA” publishes fiction, poetry, and nonfiction by both emerging and established writers.\u003c/p>\n\u003ch3>City of San Jose, California (a.k.a. City of San Jose, Office of Cultural Affairs)\u003c/h3>\n\u003ch5>$50,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Local Arts Agencies\u003cbr>\nTo support the Neighborhood Gateway Galleries. The project is a citywide public art initiative that will transform highway underpasses into public art installations. Local artists and artist teams, selected through a competitive open call, will lead a series of public workshops and invite neighborhood residents to participate in the design process and creation of artworks. Final underpass designs will feature a unified, curated design that may incorporate the work of both the residents and the selected artists. The resulting public artworks will capture and enhance each neighborhood’s unique identity, foster increased pedestrian and cycling traffic, and develop connectivity among venues such as schools, community centers, businesses, and cultural attractions in ethnically diverse neighborhoods.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$40,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Folk & Traditional Arts\u003cbr>\nTo support the International Aimusic Festival. Firebird Youth Chinese Orchestra members, regional music groups, and master artists from China will present concerts, lectures, and master classes that will foster a deeper understanding and appreciation of Chinese opera. The youth orchestra will receive special musical instruction from Firebird faculty to prepare for the concerts, which will be presented without electronic amplification, allowing the audience to hear the music as it was originally intended to be heard.\u003c/p>\n\u003ch3>Opera San Jose, Inc. (a.k.a. Opera San Jose)\u003c/h3>\n\u003ch5>$20,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Opera\u003cbr>\nTo support performances of \u003cem>Silent Night\u003c/em> by composer Kevin Puts and librettist Mark Campbell. Winner of a 2012 Pulitzer Prize in Music, the opera is based on Christian Carion’s screenplay for the film \u003cem>Joyeux Noel\u003c/em>, and tells the story of enemy soldiers who spontaneously declared a temporary cease-fire on Christmas Eve 1914 to celebrate the holiday together and bury their dead. The work captures the dichotomy of love and war, and expresses the humanity of the characters and the comforts that friendship and music bring amidst the bloodiest and most inexplicable of human experiences. The creative team may include director Michael Shell, set designer Steven Kemp, costume designer Melissa Torchia, and lighting designer Pamila Gray. Conductor Joseph Marcheso will lead a cast of principal artists that may include tenors Kirk Dougherty and John Lindsay, and soprano Julie Adams. As many as eight performances will take place at the California Theatre in early 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (a.k.a. SJMAG)\u003c/h3>\n\u003ch5>$10,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Challenge America\u003c/strong>\u003cbr>\nTo support the performance of Rain Pryor’s \u003cem>Fried Chicken and Latkes\u003c/em>, and related activities. The play will be presented as a one-night performance, and will include a post-show conversation with Pryor. The project will serve African-Americans, Latinos, low-income families, and the Jewish community by offering a program that reflects the lives and experiences of this diverse community. High school students will attend the performance at no cost and have the opportunity to stay for an after-performance discussion on the themes of race relations and biracial heritage.\u003c/p>\n\u003ch3>Taiko Community Alliance\u003c/h3>\n\u003ch5>$10,000 / San Jose, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Folk & Traditional Arts\u003cbr>\nTo support the North American Taiko Conference. The conference will bring together performers, teachers, and enthusiasts of taiko drumming for workshops, discussion groups, demonstrations, jam sessions, and performances of taiko drumming. NEA National Heritage Fellows Roy and PJ Hirabayashi are scheduled to participate in discussion panels and performances.\u003c/p>\n\u003ch3>Bernard Osher Marin Jewish Community Center (aka Osher Marin JCC)\u003c/h3>\n\u003ch5>$10,000 / San Rafael, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support the Kanbar Music Series and the Summer Nights Festival. The year-long series will encompass more than 15 indoor and outdoor concerts at the Bernard Osher Marin Jewish Community Center featuring classical and chamber music, jazz, folk, and world music artists. Ancillary activities may include dance lessons, art activities for youth, audience discussions, or ice cream socials to encourage active community engagement. The outdoors Summer Nights Festival will be curated to include a wide variety of musical styles to attract families with young children as well as seniors and other underserved audiences. Free and discounted tickets will be made available to underserved audiences. Performers may include Chanticleer, the Kronos Quartet, violinist Nadja Salerno-Sonnenberg with the New Century Chamber Orchestra, and the Mill Valley Philharmonic.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 / Santa Cruz, CA\u003c/h5>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Music\u003cbr>\nTo support a concert series. As many as three performances will take place at the organization’s own venue. The proposed artists include NEA Jazz Master Dave Holland, Cecile McLorin Salvant, and John Scofield. Ancillary activities may include an artist conversation moderated by jazz journalist Andrew Gilbert.\u003c/p>\n\u003ch3>Museum of Art & History at the McPherson Center (a.k.a. Santa Cruz MAH)\u003c/h3>\n\u003ch5>$40,000 / Santa Cruz, CA\u003c/h5>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Art Works\u003c/strong> – Creativity Connects\u003cbr>\nTo support \u003cem>Lost Childhoods\u003c/em>, a museum exhibition about foster youth in California, in partnership with the California Youth Connection (CYC). CYC, the Museum of Art & History (MAH), and artist Ray Bussolari will develop and present an exhibition featuring new and existing artwork co-created by artists, foster youth, and advocates. A group of former foster youth at CYC invented the Foster Youth Museum by collecting objects, such as photographs, from former foster youth. \u003cem>Lost Childhoods\u003c/em> will advance the Foster Youth Museum, professionalizing its design and extending its reach. This project is rooted in the MAH’s design and community engagement expertise, CYC’s content expertise, and the heroic, often tragic stories of foster youth. The new partnerships will become a model for creating engaging exhibitions on community issues, giving artists greater ability to pursue socially engaged work. In addition, foster youth will have a platform from which to tell their stories.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a> (CCSF) is making headlines for allegedly being nearly priced out of its home, the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener\">Fort Mason Center for Arts and Culture\u003c/a> has accused the college of bad faith in negotiating a new rental agreement. The college offers 53 classes to approximately 400 students at Fort Mason, a former Army post on San Francisco Bay whose lower portion now operates as a nonprofit primarily renting — and partially subsidizing those rents — to arts nonprofits.\u003c/p>\n\u003cp>The current rental agreement between CCSF and Fort Mason, dating to 2014, expires at the end of June. Recently the college informed students that its drawing, painting and ceramics classes may have to move to one of its other campuses because Fort Mason wanted to hike the rent by 300 percent.\u003c/p>\n\u003cp>Fort Mason sees it differently.\u003c/p>\n\u003cp>“I think we’re a little perplexed at what’s going on,” said Fort Mason Director of External Affairs Nick Kinsey. “The new lease will actually save City College over $575,000 over the term of the lease, including almost $20,000 in year one, putting to bed the fictional rent increase CCSF has alleged.\u003c/p>\n\u003cp>“We sent them a lease proposal in November [2016],” Kinsey added. “And then we really didn’t hear anything from them in the next four months.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kinsey said Fort Mason staff was blindsided by an article in the \u003ca href=\"http://www.sfexaminer.com/rent-hike-prompts-ccsf-close-fort-mason-art-campus/\" target=\"_blank\" rel=\"noopener\">San Francisco Examiner\u003c/a> earlier this week in which CCSF’s administrators claimed Fort Mason was asking for a rent hike.\u003c/p>\n\u003cp>“We seem to have a difference of perspective on the level of communication between the college and the Fort Mason Center,” said CCSF Spokesman Jeff Hamilton. “We’ve been in pretty much continuous discussion with them for at least four months. And we’re in process right now with Fort Mason as to how we can come to terms. At this point, we are focused on a successful resolution of the outstanding issues. We believe we have enough runway to have productive discussions and a successful outcome.”\u003c/p>\n\u003cfigure id=\"attachment_12905039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12905039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg\" alt=\"A City College of San Francisco student make a pot in ceramics class at the college's Fort Mason campus\" width=\"800\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1180x1636.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-375x520.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-520x721.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165.jpg 1351w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A City College of San Francisco student make a pot in ceramics class at the college’s Fort Mason campus. \u003ccite>(Photo: Courtesy of CCSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A CCSF spokesperson told the \u003cem>Examiner\u003c/em> that Fort Mason proposed a new lease that would increase the college’s rent by 28 percent, with annual increases thereafter.\u003c/p>\n\u003cp>Kinsey said that Fort Mason is asking the college, which occupies 22,000 square feet on two floors of the WWII-era center, to reduce the space it uses by 23 percent, something that Kinsey claims could be accomplished without cutting classes if the college used a more efficient schedule. The total rent, Kinsey said, would then go down by about $140 to $26,457 per month. After the initial increase, Fort Mason is also offering a smaller annual rent hike, Kinsey said, from the current seven percent per year to five percent per year.\u003c/p>\n\u003cp>Ceramics student Maryellen McGoldrick takes classes at Fort Mason. She said in a phone interview that she sent letters objecting to the higher rents to the Fort Mason trustees, and got a quick reply arguing that the rent hike was pure fiction. “What’s more shocking to me,” said McGoldrick, “is that CCSF would misrepresent the deal Fort Mason was offering.”\u003c/p>\n\u003cp>Fort Mason’s Kinsey says the center has agreed to continue the current lease agreement on a month-to-month basis while it negotiates with the college over the terms of a new contract.\u003c/p>\n\u003cp>“This has been shocking for us as an organization,” said Kinsey. “We spend $2.5 million each year supporting arts nonprofits. City College is the largest beneficiary of our support programs, receiving over $600,000 in reduced rents. We want to keep giving City College these benefits. And we hope that we’re able to do so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a> (CCSF) is making headlines for allegedly being nearly priced out of its home, the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener\">Fort Mason Center for Arts and Culture\u003c/a> has accused the college of bad faith in negotiating a new rental agreement. The college offers 53 classes to approximately 400 students at Fort Mason, a former Army post on San Francisco Bay whose lower portion now operates as a nonprofit primarily renting — and partially subsidizing those rents — to arts nonprofits.\u003c/p>\n\u003cp>The current rental agreement between CCSF and Fort Mason, dating to 2014, expires at the end of June. Recently the college informed students that its drawing, painting and ceramics classes may have to move to one of its other campuses because Fort Mason wanted to hike the rent by 300 percent.\u003c/p>\n\u003cp>Fort Mason sees it differently.\u003c/p>\n\u003cp>“I think we’re a little perplexed at what’s going on,” said Fort Mason Director of External Affairs Nick Kinsey. “The new lease will actually save City College over $575,000 over the term of the lease, including almost $20,000 in year one, putting to bed the fictional rent increase CCSF has alleged.\u003c/p>\n\u003cp>“We sent them a lease proposal in November [2016],” Kinsey added. “And then we really didn’t hear anything from them in the next four months.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kinsey said Fort Mason staff was blindsided by an article in the \u003ca href=\"http://www.sfexaminer.com/rent-hike-prompts-ccsf-close-fort-mason-art-campus/\" target=\"_blank\" rel=\"noopener\">San Francisco Examiner\u003c/a> earlier this week in which CCSF’s administrators claimed Fort Mason was asking for a rent hike.\u003c/p>\n\u003cp>“We seem to have a difference of perspective on the level of communication between the college and the Fort Mason Center,” said CCSF Spokesman Jeff Hamilton. “We’ve been in pretty much continuous discussion with them for at least four months. And we’re in process right now with Fort Mason as to how we can come to terms. At this point, we are focused on a successful resolution of the outstanding issues. We believe we have enough runway to have productive discussions and a successful outcome.”\u003c/p>\n\u003cfigure id=\"attachment_12905039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12905039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg\" alt=\"A City College of San Francisco student make a pot in ceramics class at the college's Fort Mason campus\" width=\"800\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1180x1636.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-375x520.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-520x721.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165.jpg 1351w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A City College of San Francisco student make a pot in ceramics class at the college’s Fort Mason campus. \u003ccite>(Photo: Courtesy of CCSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A CCSF spokesperson told the \u003cem>Examiner\u003c/em> that Fort Mason proposed a new lease that would increase the college’s rent by 28 percent, with annual increases thereafter.\u003c/p>\n\u003cp>Kinsey said that Fort Mason is asking the college, which occupies 22,000 square feet on two floors of the WWII-era center, to reduce the space it uses by 23 percent, something that Kinsey claims could be accomplished without cutting classes if the college used a more efficient schedule. The total rent, Kinsey said, would then go down by about $140 to $26,457 per month. After the initial increase, Fort Mason is also offering a smaller annual rent hike, Kinsey said, from the current seven percent per year to five percent per year.\u003c/p>\n\u003cp>Ceramics student Maryellen McGoldrick takes classes at Fort Mason. She said in a phone interview that she sent letters objecting to the higher rents to the Fort Mason trustees, and got a quick reply arguing that the rent hike was pure fiction. “What’s more shocking to me,” said McGoldrick, “is that CCSF would misrepresent the deal Fort Mason was offering.”\u003c/p>\n\u003cp>Fort Mason’s Kinsey says the center has agreed to continue the current lease agreement on a month-to-month basis while it negotiates with the college over the terms of a new contract.\u003c/p>\n\u003cp>“This has been shocking for us as an organization,” said Kinsey. “We spend $2.5 million each year supporting arts nonprofits. City College is the largest beneficiary of our support programs, receiving over $600,000 in reduced rents. We want to keep giving City College these benefits. And we hope that we’re able to do so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To prevent tragedies like the deadly \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> fire last year, California needs more affordable housing and performance spaces for artists, the father of one of the fire’s victims told state legislators in Sacramento Wednesday.\u003c/p>\n\u003cp>Edwin Bernbaum’s son Jonathan was one of 36 people who died last December when the Ghost Ship, an unpermitted live-work space in Oakland, went up in flames. Bernbaum spoke at a hearing of the Senate Governance and Finance Committee aimed at finding ways to prevent similar tragedies.\u003c/p>\n\u003cp>“This is something Jonathan would have loved to have seen done,” said Bernbaum. “It was something that was a great concern to him and I think it would be a great way to honor the victims.”\u003c/p>\n\u003cfigure id=\"attachment_12485543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12485543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg\" alt=\"Jonathan Bernbaum in 2013\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Bernbaum in 2013 \u003ccite>(Photo: Beau McGavin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernbaum’s son Jonathan \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/jonathan-bernbaum/\" target=\"_blank\" rel=\"noopener\">was a visual projection artist\u003c/a> who grew up in Berkeley.\u003c/p>\n\u003cp>Bernbaum says he’s started an organization to raise money for safe spaces for artists to live and work. The group is called Vital Arts, “because the word vital is something that’s alive and essential, and we see an innovative, vibrant, alive arts community as being essential to the vitality, health and well-being of society at large.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wednesday’s hearing was organized by \u003ca href=\"http://sd02.senate.ca.gov/\" target=\"_blank\" rel=\"noopener\">State Sen. Mike McGuire\u003c/a>, the chair of the \u003ca href=\"http://sgf.senate.ca.gov/\" target=\"_blank\" rel=\"noopener\">Senate Governance and Finance Committee\u003c/a>, who wanted to “identify obstacles and possible reforms needed to ensure residents are kept safe and that local governments in California are properly equipped to inspect buildings and enforce building and fire codes.”\u003c/p>\n\u003cp>“The Ghost ship is a wake up call to all local governments,” McGuire said. “This devastating event may have occurred in the great city of Oakland, but we know this tragedy could take place in any number of localities across the Golden state. In fact we believe there are hundreds, if not thousands, of buildings similar to the Ghost Ship up and down California.”\u003c/p>\n\u003cp>Lawmakers plan to set up a working group to look at how the state can keep safety a priority while creating more flexibility in enforcing certain building and fire codes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tara Siler contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To prevent tragedies like the deadly \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> fire last year, California needs more affordable housing and performance spaces for artists, the father of one of the fire’s victims told state legislators in Sacramento Wednesday.\u003c/p>\n\u003cp>Edwin Bernbaum’s son Jonathan was one of 36 people who died last December when the Ghost Ship, an unpermitted live-work space in Oakland, went up in flames. Bernbaum spoke at a hearing of the Senate Governance and Finance Committee aimed at finding ways to prevent similar tragedies.\u003c/p>\n\u003cp>“This is something Jonathan would have loved to have seen done,” said Bernbaum. “It was something that was a great concern to him and I think it would be a great way to honor the victims.”\u003c/p>\n\u003cfigure id=\"attachment_12485543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12485543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg\" alt=\"Jonathan Bernbaum in 2013\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Bernbaum in 2013 \u003ccite>(Photo: Beau McGavin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernbaum’s son Jonathan \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/jonathan-bernbaum/\" target=\"_blank\" rel=\"noopener\">was a visual projection artist\u003c/a> who grew up in Berkeley.\u003c/p>\n\u003cp>Bernbaum says he’s started an organization to raise money for safe spaces for artists to live and work. The group is called Vital Arts, “because the word vital is something that’s alive and essential, and we see an innovative, vibrant, alive arts community as being essential to the vitality, health and well-being of society at large.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wednesday’s hearing was organized by \u003ca href=\"http://sd02.senate.ca.gov/\" target=\"_blank\" rel=\"noopener\">State Sen. Mike McGuire\u003c/a>, the chair of the \u003ca href=\"http://sgf.senate.ca.gov/\" target=\"_blank\" rel=\"noopener\">Senate Governance and Finance Committee\u003c/a>, who wanted to “identify obstacles and possible reforms needed to ensure residents are kept safe and that local governments in California are properly equipped to inspect buildings and enforce building and fire codes.”\u003c/p>\n\u003cp>“The Ghost ship is a wake up call to all local governments,” McGuire said. “This devastating event may have occurred in the great city of Oakland, but we know this tragedy could take place in any number of localities across the Golden state. In fact we believe there are hundreds, if not thousands, of buildings similar to the Ghost Ship up and down California.”\u003c/p>\n\u003cp>Lawmakers plan to set up a working group to look at how the state can keep safety a priority while creating more flexibility in enforcing certain building and fire codes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tara Siler contributed to this report.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paul McCartney, Denied Control Over Beatles Hits for Decades, is Told to Wait",
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"content": "\u003cp>After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and \u003ca href=\"http://www.billboard.com/articles/news/7263857/paul-mccartney-beatles-songs-publishing\" target=\"_blank\" rel=\"noopener\">again\u003c/a> to Michael Jackson, in a duplicitous move by the King of Pop, in the ’80s — Paul McCartney is not taking any chances.\u003c/p>\n\u003cp>First, the fine print. In the U.S., authors are allowed to regain copyrights they had previously assigned to other parties, such as a music publishing company, after 56 years, a feature of stateside copyright law designed to give late-in-life artists and their families a financial silver lining (not that McCartney needs it). McCartney is \u003cem>extremely\u003c/em> keen, after the previously mentioned burns he sustained, to regain control of his Beatles work — so much so that he filed termination notices, the legal mechanism for him to regain his copyrights, on The Beatles’ “Love Me Do” and “P.S. I Love You,” about 10 years ahead of schedule. (They turn 56 years old in October, 2018.)\u003c/p>\n\u003cp>Despite that due diligence, McCartney is understandably skittish given his track record of failure in this particular area of his business. The pop genius filed suit, in fact, this past January against Sony/ATV — the world’s largest music publisher, which controls much of the Lennon/McCartney songbook — based essentially on a conversation, shared in court documents, in late 2016 during a Billy Joel concert between his lawyer and Sony/ATV chairman and CEO Martin Bandier. The talk seemed to indicate that McCartney’s reclamations, which should be protected by U.S. law, may not go as smoothly as he’d hoped.\u003c/p>\n\u003cp>The pair’s chat focused on a recent U.K. court case in which Sony/ATV successfully prevented members of Duran Duran \u003ca href=\"http://www.billboard.com/articles/business/7597255/duran-duran-loses-copyright-case-britain-us-termination\" target=\"_blank\" rel=\"noopener\">from regaining\u003c/a> control of hit songs they’d signed away to publishers in the ’80s, despite filing notices much as McCartney has. The discussion alarmed McCartney enough that he brought suit against the publishing giant to ensure it wasn’t planning on using the same legal strategy against him next year. The company urged calm.\u003c/p>\n\u003cp>In both an email thread before McCartney sued and in subsequent court documents, Sony/ATV has maintained that it does not plan to challenge the notices McCartney filed to get back his landmark Beatles compositions. Bandier emailed McCartney’s lawyer that “the previously served notices of termination … constitute an effective exercise … and will become effective on the dates stated in the notices.” Sony/ATV also wrote in a court memo Monday (Mar. 13) that it “has never stated that it intends to assert” a claim similar to the one in the Duran Duran case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the rub, though: The purpose of Sony/ATV’s filing on Mar. 13 was to claim that McCartney’s suit is premature — or “unripe” — since the Duran Duran case in the U.K. in ongoing (it is currently awaiting appeal). Because of this, the publisher wants to have McCartney’s suit against the company dismissed without prejudice (“without” allows McCartney to bring his case again). That the company is looking to dismiss McCartney’s case until Duran Duran’s is finished could, however, is an ominous sign — one that McCartney and his lawyers picked up on, clearly.\u003c/p>\n\u003cp>Sony/ATV maintains it is simply protecting itself by not signing away rights before they’re fully determined via the Duran Duran case — rights it could, ostensibly, use to challenge McCartney’s termination claims in the U.K. Which, again, it says it does not plan on doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCartney, wisely given his past copyright failures, isn’t waiting around to find out whether or not Sony/ATV is as benevolent as it claims. \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=Paul+McCartney%2C+Denied+Control+Over+Beatles+Hits+For+Decades%2C+Is+Told+To+Wait&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and \u003ca href=\"http://www.billboard.com/articles/news/7263857/paul-mccartney-beatles-songs-publishing\" target=\"_blank\" rel=\"noopener\">again\u003c/a> to Michael Jackson, in a duplicitous move by the King of Pop, in the ’80s — Paul McCartney is not taking any chances.\u003c/p>\n\u003cp>First, the fine print. In the U.S., authors are allowed to regain copyrights they had previously assigned to other parties, such as a music publishing company, after 56 years, a feature of stateside copyright law designed to give late-in-life artists and their families a financial silver lining (not that McCartney needs it). McCartney is \u003cem>extremely\u003c/em> keen, after the previously mentioned burns he sustained, to regain control of his Beatles work — so much so that he filed termination notices, the legal mechanism for him to regain his copyrights, on The Beatles’ “Love Me Do” and “P.S. I Love You,” about 10 years ahead of schedule. (They turn 56 years old in October, 2018.)\u003c/p>\n\u003cp>Despite that due diligence, McCartney is understandably skittish given his track record of failure in this particular area of his business. The pop genius filed suit, in fact, this past January against Sony/ATV — the world’s largest music publisher, which controls much of the Lennon/McCartney songbook — based essentially on a conversation, shared in court documents, in late 2016 during a Billy Joel concert between his lawyer and Sony/ATV chairman and CEO Martin Bandier. The talk seemed to indicate that McCartney’s reclamations, which should be protected by U.S. law, may not go as smoothly as he’d hoped.\u003c/p>\n\u003cp>The pair’s chat focused on a recent U.K. court case in which Sony/ATV successfully prevented members of Duran Duran \u003ca href=\"http://www.billboard.com/articles/business/7597255/duran-duran-loses-copyright-case-britain-us-termination\" target=\"_blank\" rel=\"noopener\">from regaining\u003c/a> control of hit songs they’d signed away to publishers in the ’80s, despite filing notices much as McCartney has. The discussion alarmed McCartney enough that he brought suit against the publishing giant to ensure it wasn’t planning on using the same legal strategy against him next year. The company urged calm.\u003c/p>\n\u003cp>In both an email thread before McCartney sued and in subsequent court documents, Sony/ATV has maintained that it does not plan to challenge the notices McCartney filed to get back his landmark Beatles compositions. Bandier emailed McCartney’s lawyer that “the previously served notices of termination … constitute an effective exercise … and will become effective on the dates stated in the notices.” Sony/ATV also wrote in a court memo Monday (Mar. 13) that it “has never stated that it intends to assert” a claim similar to the one in the Duran Duran case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the rub, though: The purpose of Sony/ATV’s filing on Mar. 13 was to claim that McCartney’s suit is premature — or “unripe” — since the Duran Duran case in the U.K. in ongoing (it is currently awaiting appeal). Because of this, the publisher wants to have McCartney’s suit against the company dismissed without prejudice (“without” allows McCartney to bring his case again). That the company is looking to dismiss McCartney’s case until Duran Duran’s is finished could, however, is an ominous sign — one that McCartney and his lawyers picked up on, clearly.\u003c/p>\n\u003cp>Sony/ATV maintains it is simply protecting itself by not signing away rights before they’re fully determined via the Duran Duran case — rights it could, ostensibly, use to challenge McCartney’s termination claims in the U.K. Which, again, it says it does not plan on doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCartney, wisely given his past copyright failures, isn’t waiting around to find out whether or not Sony/ATV is as benevolent as it claims. \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=Paul+McCartney%2C+Denied+Control+Over+Beatles+Hits+For+Decades%2C+Is+Told+To+Wait&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility",
"headTitle": "A Blind Theatergoer’s ‘Hamilton’ Lawsuit Aims Spotlight On Broadway Accessibility | KQED",
"content": "\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\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=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\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=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2011, he produced Paul McCartney’s Concord album \u003cem>Kisses On The Bottom\u003c/em>, which won a Grammy for Best Pop Standard Album (Vocal) along with projects with Leon Russell and the trumpeter Dominick Farinacci. His last production was a forthcoming album from Krall entitled \u003cem>Turn Up The Quiet\u003c/em>, which is scheduled for release in May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LiPuma is survived by his wife, Gill, daughters Jen Monti and Danielle Wiener, and four granchildren: Matty, Julia, Chloe and Ava. \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=Record+Producer+And+Label+Executive+Tommy+LiPuma+Has+Died+At+Age+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "egyptian-canadian-metal-band-blocked-at-border-from-heading-to-sxsw",
"title": "Egyptian-Canadian Band Blocked at Border from Heading to SXSW",
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"content": "\u003cp>Before Cherine Amr and her metal band \u003ca href=\"http://massivescarera.com/\" target=\"_blank\" rel=\"noopener\">Massive Scar Era\u003c/a> reached the Canadian-American border, Amr thought she had taken care of everything. The band had three shows in the states, one of them during the renowned South By Southwest (SXSW) music festival in Austin, Texas, and Amr, an Egyptian citizen living in Canada, had visited the Egyptian embassy beforehand to ensure she had the proper paperwork. \u003c/p>\n\u003cp>But the agent at the border crossing near Seattle saw Amr’s Egyptian passport and told the band to wait. After several hours, the agent informed the group that they had to turn around because they didn’t have the proper visa to play SXSW. The band had B-1 visas (for tourists) and they were told they needed P-2 visas.\u003c/p>\n\u003cp>“I told him we had played twice at SXSW already, and I had my visa issued from the Cairo embassy under the impression that we were going to play,” Amr said in a phone interview Monday. “He said, ‘Just because a person gave you this visa doesn’t mean its lawful.'” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qu9VAG9ffAQ\u003c/p>\n\u003cp>The issue wasn’t the two free shows in Denver and Utah the band had scheduled for after the festival — the agent was fine with those, according to Amr. It was specifically the SXSW show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amr says she called a SXSW representative who was willing to speak with the agent but he wouldn’t take the phone. Worst of all, the agent said the band’s bassist, Dylan Pieter Wijdenes-Charles, couldn’t cross the border either, even though he’s First Nation. Per the \u003ca href=\"http://ptla.org/border-crossing-rights-jay-treaty\" target=\"_blank\" rel=\"noopener\">Jay Treaty of 1794\u003c/a>, Wijdenes-Charles should’ve been able to cross the border without any issues since he carried an identification card provided by his tribe.\u003c/p>\n\u003cp>“[The agent] looked at Dylan and said, ‘Regarding you, of course you’re welcome into the United States whenever you want to. However, you should’ve brought a DNA test,'” Amr said.\u003c/p>\n\u003cp>Before the band made their way back to their hometown of Vancouver, Amr recorded a Facebook Live video where she \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">described her experiences\u003c/a>. As of press time, it had almost 9,000 views.\u003c/p>\n\u003cp>Massive Scar Era was one of three bands headed to SXSW that was stopped from entering the states within the past week. Last Thursday, the Italian post-punk band \u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported/\" target=\"_blank\" rel=\"noopener\">Soviet Soviet\u003c/a> was held an airport for several hours before being deported, despite having booked a full tour. (\u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/why-was-that-italian-band-soviet-soviet-deported/\" target=\"_blank\" rel=\"noopener\">Read about why it happened here\u003c/a>.) On Monday afternoon, the London-based record label \u003ca href=\"https://www.facebook.com/brownswood/photos/a.84125771394.85771.11482706394/10154462164886395/?type=3&theater\" target=\"_blank\" rel=\"noopener\">Brownswood Recordings\u003c/a> announced that two of its bands, Yussef Kamaal and United Vibrations, had to cancel their SXSW shows because their members had their visas revoked “at the 11th hour.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1g826StJhLk\u003c/p>\n\u003cp>“The situation is infuriating and desperately unfair to all involved,” Brownswood Recordings wrote on their \u003ca href=\"https://www.facebook.com/brownswood/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “The fact that the visa was issued and then revoked has left no time to appeal the decision as the band were due to travel tomorrow.”\u003c/p>\n\u003cp>Amr said she cried after being denied from entering the United States. She had left Egypt in 2015 to escape the \u003ca href=\"https://bitchmedia.org/article/egypts-female-fronted-metal-band-massive-scar-era-shreds-whole-new-sound\" target=\"_blank\" rel=\"noopener\">oppressive political climate\u003c/a> only to be held back by the politics of a different nation. \u003c/p>\n\u003cp>“[The agent] actually said, ‘Well, some people are using SXSW to protest,'” Amr said. “I am sure [the denial] was political.”\u003c/p>\n\u003cp>Egypt isn’t one of the six Muslim-majority countries included in President Donald Trump’s revised travel ban, but Amr said it was clear that the agent had an issue with her ethnicity. On top of the discrimination, Amr is also angry about her plans — in which she invested heavily — being ruined. She had found new band members just to play these shows, and the band had invested over $1,000 in the tour (equipment, plane tickets, and more) that they won’t be getting back, she said. \u003c/p>\n\u003cp>“We don’t have anything — \u003cem>anything\u003c/em> — against the U.S.,” Amr said. “We just wanted to get in, play our shows, promote ourselves and go back, you know?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Cherine Amr and her metal band \u003ca href=\"http://massivescarera.com/\" target=\"_blank\" rel=\"noopener\">Massive Scar Era\u003c/a> reached the Canadian-American border, Amr thought she had taken care of everything. The band had three shows in the states, one of them during the renowned South By Southwest (SXSW) music festival in Austin, Texas, and Amr, an Egyptian citizen living in Canada, had visited the Egyptian embassy beforehand to ensure she had the proper paperwork. \u003c/p>\n\u003cp>But the agent at the border crossing near Seattle saw Amr’s Egyptian passport and told the band to wait. After several hours, the agent informed the group that they had to turn around because they didn’t have the proper visa to play SXSW. The band had B-1 visas (for tourists) and they were told they needed P-2 visas.\u003c/p>\n\u003cp>“I told him we had played twice at SXSW already, and I had my visa issued from the Cairo embassy under the impression that we were going to play,” Amr said in a phone interview Monday. “He said, ‘Just because a person gave you this visa doesn’t mean its lawful.'” \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/qu9VAG9ffAQ'\n title='//www.youtube.com/embed/qu9VAG9ffAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The issue wasn’t the two free shows in Denver and Utah the band had scheduled for after the festival — the agent was fine with those, according to Amr. It was specifically the SXSW show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amr says she called a SXSW representative who was willing to speak with the agent but he wouldn’t take the phone. Worst of all, the agent said the band’s bassist, Dylan Pieter Wijdenes-Charles, couldn’t cross the border either, even though he’s First Nation. Per the \u003ca href=\"http://ptla.org/border-crossing-rights-jay-treaty\" target=\"_blank\" rel=\"noopener\">Jay Treaty of 1794\u003c/a>, Wijdenes-Charles should’ve been able to cross the border without any issues since he carried an identification card provided by his tribe.\u003c/p>\n\u003cp>“[The agent] looked at Dylan and said, ‘Regarding you, of course you’re welcome into the United States whenever you want to. However, you should’ve brought a DNA test,'” Amr said.\u003c/p>\n\u003cp>Before the band made their way back to their hometown of Vancouver, Amr recorded a Facebook Live video where she \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">described her experiences\u003c/a>. As of press time, it had almost 9,000 views.\u003c/p>\n\u003cp>Massive Scar Era was one of three bands headed to SXSW that was stopped from entering the states within the past week. Last Thursday, the Italian post-punk band \u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported/\" target=\"_blank\" rel=\"noopener\">Soviet Soviet\u003c/a> was held an airport for several hours before being deported, despite having booked a full tour. (\u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/why-was-that-italian-band-soviet-soviet-deported/\" target=\"_blank\" rel=\"noopener\">Read about why it happened here\u003c/a>.) On Monday afternoon, the London-based record label \u003ca href=\"https://www.facebook.com/brownswood/photos/a.84125771394.85771.11482706394/10154462164886395/?type=3&theater\" target=\"_blank\" rel=\"noopener\">Brownswood Recordings\u003c/a> announced that two of its bands, Yussef Kamaal and United Vibrations, had to cancel their SXSW shows because their members had their visas revoked “at the 11th hour.”\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/1g826StJhLk'\n title='//www.youtube.com/embed/1g826StJhLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The situation is infuriating and desperately unfair to all involved,” Brownswood Recordings wrote on their \u003ca href=\"https://www.facebook.com/brownswood/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “The fact that the visa was issued and then revoked has left no time to appeal the decision as the band were due to travel tomorrow.”\u003c/p>\n\u003cp>Amr said she cried after being denied from entering the United States. She had left Egypt in 2015 to escape the \u003ca href=\"https://bitchmedia.org/article/egypts-female-fronted-metal-band-massive-scar-era-shreds-whole-new-sound\" target=\"_blank\" rel=\"noopener\">oppressive political climate\u003c/a> only to be held back by the politics of a different nation. \u003c/p>\n\u003cp>“[The agent] actually said, ‘Well, some people are using SXSW to protest,'” Amr said. “I am sure [the denial] was political.”\u003c/p>\n\u003cp>Egypt isn’t one of the six Muslim-majority countries included in President Donald Trump’s revised travel ban, but Amr said it was clear that the agent had an issue with her ethnicity. On top of the discrimination, Amr is also angry about her plans — in which she invested heavily — being ruined. She had found new band members just to play these shows, and the band had invested over $1,000 in the tour (equipment, plane tickets, and more) that they won’t be getting back, she said. \u003c/p>\n\u003cp>“We don’t have anything — \u003cem>anything\u003c/em> — against the U.S.,” Amr said. “We just wanted to get in, play our shows, promote ourselves and go back, you know?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jimmy Waters teaches high school math in Knoxville, Tennessee. Over the summer, he started reading Thomas Pynchon’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Crying_of_Lot_49\" target=\"_blank\" rel=\"noopener\">\u003cem>The Crying of Lot 49\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>As it happens, the novel was \u003ca href=\"https://ww2.kqed.org/news/2016/12/01/theres-a-secret-message-to-decode-in-san-jose/\" target=\"_blank\" rel=\"noopener\">also the source of the secret message\u003c/a> encoded in the very first ‘San Jose Semaphore,’ a media installation project on one of Adobe’s towers in downtown San Jose.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/http://www.kqed.org/.stream/anon/radio/bay-curious/2016/11/Semaphorespodcastmastered.mp3\" title=\"There’s a Secret Message to Decode in San Jose\" program=\"Bay Curious\" image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/semaphorescolors.jpg\"]\u003c/p>\n\u003cp>When Waters googled the book title, he stumbled upon the San Jose Semaphore. And then he saw that a second code was put up on the building — a code that hadn’t been cracked in four years.\u003c/p>\n\u003cp>Most people would be too intimidated to attempt the puzzle. After all, it hasn’t been cracked in four years. Not Waters. “I figured that anyone who’d tried to crack it had given up a long time ago. And I felt like I probably didn’t have any competition, so it was all mine to solve at my own pace.”\u003c/p>\n\u003ch3>Each disc as a digit\u003c/h3>\n\u003cp>[youtube https://www.youtube.com/watch?v=pbkhD0SDyI8]So Waters spent some time on the website set up by Adobe to explain the semaphore — and how it was cracked the first time, within a month of installation, by Bob Mayo and Mark Snesrud, two scientists who were in town for a conference. They spotted the semaphore and became obsessed. They wrote an entire \u003ca href=\"http://www.adobe.com/aboutadobe/philanthropy/sjsemaphore/pdf/decoding.pdf\" target=\"_blank\" rel=\"noopener\">scientific paper\u003c/a> explaining how they broke the code.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Waters read their paper, “and I tried to recreate what they had done on my computer.” You know, as you do. “I started turning the data into numbers, using each disc as a digit, and I kind of played around with graphing that.”\u003c/p>\n\u003ch3>‘This kind of looks like audio’\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12895526\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg\" alt=\"RS24599_Adobe-Wave-Form-qut\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Then it struck him. “When I graphed it, it kind of looked like those waves that you get for an audio file.” He was expecting text, like the first message, from \u003cem>The Crying of Lot 49\u003c/em>. But “the frequency was off at first, so they sounded like chipmunks,” says Waters.\u003c/p>\n\u003cp>“I couldn’t understand what they said, but I could tell that there were voices.” Waters had the audio running 5.5 times faster than normal. Once he slowed down the message, it all made sense…\u003c/p>\n\u003cp>Waters discovered that the semaphore, created by New York artist \u003ca href=\"https://vimeo.com/benrubin\" target=\"_blank\" rel=\"noopener\">Ben Rubin\u003c/a>, was a sizable stretch of audio from Neil Armstrong and pilot Buzz Aldrin’s moon landing in 1969. Namely, the quote that almost everyone has memorized: “That’s one small step for [a] man, one giant leap for mankind.”\u003c/p>\n\u003cp>“I thought it was neat that it was something that was so instantly recognizable,” says Waters.\u003c/p>\n\u003cp>“I love that Jimmy was able to make the leap to imagine that it might be audio,” says Rubin. “Because that was what was hard this time.”\u003c/p>\n\u003cfigure id=\"attachment_12895304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12895304 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg\" alt=\"The San Jose Semaphore seen from street level.\" width=\"800\" height=\"1419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-768x1362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1020x1809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1920x3406.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1180x2093.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-960x1703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-240x426.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-375x665.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-520x922.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut.jpg 1154w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Jose Semaphore seen from street level. \u003ccite>(Photo: Courtesy of Alexa Rickard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For decoding the San Jose Semaphore, Waters got a free flight to San Jose and bragging rights. Also, Adobe is donating their Creative Cloud software to two computer labs at Waters’ high school, along with a 3D printer.\u003c/p>\n\u003cp>Does Waters think his students could crack this code? Sure enough: “I think it’s something you could explain, the process,” he says, confidently.\u003c/p>\n\u003ch3>What’s Next? San Jose Semaphore 3.0\u003c/h3>\n\u003cp>Rubin was a little dismayed when the first code was cracked in less than two months. But from the time he discovered it existed, it took Waters only about a month to crack the second. Is Rubin going to put up a third? “Absolutely. I don’t know what yet. Something that I hope will be a little bit harder.”\u003c/p>\n\u003cp>For inspiration, Rubin says he likes to imagine “what the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI \u003c/a>scientists are always hoping for; something that actually looks like communication.”\u003c/p>\n\u003cp>Perhaps it goes without saying you don’t have to be from the United States to submit a qualifying solution. You don’t even have to be from Planet Earth.\u003c/p>\n\u003cfigure id=\"attachment_12895303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg\" alt=\"“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode? \u003ccite>(Photo: Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Waters googled the book title, he stumbled upon the San Jose Semaphore. And then he saw that a second code was put up on the building — a code that hadn’t been cracked in four years.\u003c/p>\n\u003cp>Most people would be too intimidated to attempt the puzzle. After all, it hasn’t been cracked in four years. Not Waters. “I figured that anyone who’d tried to crack it had given up a long time ago. And I felt like I probably didn’t have any competition, so it was all mine to solve at my own pace.”\u003c/p>\n\u003ch3>Each disc as a digit\u003c/h3>\n\u003cp>\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/pbkhD0SDyI8'\n title='//www.youtube.com/embed/pbkhD0SDyI8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>So Waters spent some time on the website set up by Adobe to explain the semaphore — and how it was cracked the first time, within a month of installation, by Bob Mayo and Mark Snesrud, two scientists who were in town for a conference. They spotted the semaphore and became obsessed. They wrote an entire \u003ca href=\"http://www.adobe.com/aboutadobe/philanthropy/sjsemaphore/pdf/decoding.pdf\" target=\"_blank\" rel=\"noopener\">scientific paper\u003c/a> explaining how they broke the code.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters read their paper, “and I tried to recreate what they had done on my computer.” You know, as you do. “I started turning the data into numbers, using each disc as a digit, and I kind of played around with graphing that.”\u003c/p>\n\u003ch3>‘This kind of looks like audio’\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12895526\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg\" alt=\"RS24599_Adobe-Wave-Form-qut\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24599_Adobe-Wave-Form-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Then it struck him. “When I graphed it, it kind of looked like those waves that you get for an audio file.” He was expecting text, like the first message, from \u003cem>The Crying of Lot 49\u003c/em>. But “the frequency was off at first, so they sounded like chipmunks,” says Waters.\u003c/p>\n\u003cp>“I couldn’t understand what they said, but I could tell that there were voices.” Waters had the audio running 5.5 times faster than normal. Once he slowed down the message, it all made sense…\u003c/p>\n\u003cp>Waters discovered that the semaphore, created by New York artist \u003ca href=\"https://vimeo.com/benrubin\" target=\"_blank\" rel=\"noopener\">Ben Rubin\u003c/a>, was a sizable stretch of audio from Neil Armstrong and pilot Buzz Aldrin’s moon landing in 1969. Namely, the quote that almost everyone has memorized: “That’s one small step for [a] man, one giant leap for mankind.”\u003c/p>\n\u003cp>“I thought it was neat that it was something that was so instantly recognizable,” says Waters.\u003c/p>\n\u003cp>“I love that Jimmy was able to make the leap to imagine that it might be audio,” says Rubin. “Because that was what was hard this time.”\u003c/p>\n\u003cfigure id=\"attachment_12895304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12895304 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg\" alt=\"The San Jose Semaphore seen from street level.\" width=\"800\" height=\"1419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-800x1419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-768x1362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1020x1809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1920x3406.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-1180x2093.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-960x1703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-240x426.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-375x665.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut-520x922.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24597_Adobe_Semaphore_Vertical-qut.jpg 1154w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Jose Semaphore seen from street level. \u003ccite>(Photo: Courtesy of Alexa Rickard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For decoding the San Jose Semaphore, Waters got a free flight to San Jose and bragging rights. Also, Adobe is donating their Creative Cloud software to two computer labs at Waters’ high school, along with a 3D printer.\u003c/p>\n\u003cp>Does Waters think his students could crack this code? Sure enough: “I think it’s something you could explain, the process,” he says, confidently.\u003c/p>\n\u003ch3>What’s Next? San Jose Semaphore 3.0\u003c/h3>\n\u003cp>Rubin was a little dismayed when the first code was cracked in less than two months. But from the time he discovered it existed, it took Waters only about a month to crack the second. Is Rubin going to put up a third? “Absolutely. I don’t know what yet. Something that I hope will be a little bit harder.”\u003c/p>\n\u003cp>For inspiration, Rubin says he likes to imagine “what the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI \u003c/a>scientists are always hoping for; something that actually looks like communication.”\u003c/p>\n\u003cp>Perhaps it goes without saying you don’t have to be from the United States to submit a qualifying solution. You don’t even have to be from Planet Earth.\u003c/p>\n\u003cfigure id=\"attachment_12895303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg\" alt=\"“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24596_97d62997f2c91fd9_soyld03710433r-qut-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Arrival,” the 2016 movie based on Ted Chiang’s “Story of Your Life,” features Amy Adams as an ace linguist trying to decode an alien language. Could Ben Rubin come up with a challenge compelling enough for aliens to decode? \u003ccite>(Photo: Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Internet radio company Pandora is launching an on-demand music service for $10 a month.\u003c/p>\n\u003cp>Pandora’s existing service works more like radio. People listen to music on customizable stations. The premium service launching this month will let users choose specific songs or albums and will personalize recommendations based on people’s listening habits. There is also an “offline mode.”\u003c/p>\n\u003cp>The new Pandora Premium offering will compete with Apple Music and Spotify, both of which have given the music-streaming pioneer a run for its money. Spotify has 50 million subscribers, while Pandora had about 4.4 million as of the end of 2016. That’s because most people listen to Pandora without paying; the company has 81 million total “active listeners.”\u003c/p>\n\u003cp>Until now, the Pandora subscription mostly stripped out ads — for $5 a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Internet radio company Pandora is launching an on-demand music service for $10 a month.\u003c/p>\n\u003cp>Pandora’s existing service works more like radio. People listen to music on customizable stations. The premium service launching this month will let users choose specific songs or albums and will personalize recommendations based on people’s listening habits. There is also an “offline mode.”\u003c/p>\n\u003cp>The new Pandora Premium offering will compete with Apple Music and Spotify, both of which have given the music-streaming pioneer a run for its money. Spotify has 50 million subscribers, while Pandora had about 4.4 million as of the end of 2016. That’s because most people listen to Pandora without paying; the company has 81 million total “active listeners.”\u003c/p>\n\u003cp>Until now, the Pandora subscription mostly stripped out ads — for $5 a month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Was That Italian Band Soviet Soviet Deported?",
"headTitle": "Why Was That Italian Band Soviet Soviet Deported? | KQED",
"content": "\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Was+That+Band+Deported%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Was the Italian group Soviet Soviet a security risk? Did it pose an economic threat to Americans? And how hard is it to get a performer's visa, anyway? We work through the details.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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