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"content": "\u003cp>This afternoon, the Italian trio Soviet Soviet posted a \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\" target=\"_blank\" rel=\"noopener\">lengthy statement\u003c/a> on Facebook explaining why they would not be keeping their U.S. tour dates this week and next: they had been deported.\u003c/p>\n\u003cp>https://www.facebook.com/sovietsovietband/posts/10155120054589810\u003c/p>\n\u003cp>The band, who are based in the city of Pesaro, landed in Seattle on Wednesday afternoon. They were traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States \u003ca href=\"https://travel.state.gov/content/visas/en/visit/visa-waiver-program.html\" target=\"_blank\" rel=\"noopener\">without\u003c/a> having to obtain a visa.\u003c/p>\n\u003cp>According to the group, its three members were carrying a letter from its American record label explaining that the musicians were scheduled to perform a number of “promotional,” non-paid performances in the U.S., including a live performance at Member Station KEXP, as well as a showcase at the South by Southwest (SXSW) festival in Austin, Texas.\u003c/p>\n\u003cp>The band says that its three musicians were questioned for several hours, and “agents” (presumably U.S. Customs and Border Protection officers) denied them entry into the country. From the airport, the band says, the three were taken to a jail and held overnight before being escorted to a plane and sent back to Italy. The trio says that they were treated “like criminals.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \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> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \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\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DuSlEofvjf0\u003c/p>\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=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \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> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \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\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\n\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/DuSlEofvjf0'\n title='//www.youtube.com/embed/DuSlEofvjf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence",
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"headTitle": "Cy and David’s Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence | KQED",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ycIVwe4MsS4\u003c/p>\n\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KLoKWvUwyjM\u003c/p>\n\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details 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 shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details 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/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ycIVwe4MsS4'\n title='//www.youtube.com/embed/ycIVwe4MsS4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" 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/KLoKWvUwyjM'\n title='//www.youtube.com/embed/KLoKWvUwyjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details 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": "Grammy Award-Winning Latin Jazz Flutist Dave Valentin Dies at 64",
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"content": "\u003cp>Dave Valentin became one of the pre-eminent flutists in Latin jazz. He was known for his creative combination of fusion, pop and R&B.\u003c/p>\n\u003cp>He won a Grammy in 2003 for best Latin jazz album for “The Gathering,” by the Caribbean Jazz Project. Vibraphonist Dave Samuels was also featured on that record.\u003c/p>\n\u003cp>Manager Richie Bonilla told news agencies that Valentin, 64, who had suffered multiple strokes over the last several years, died Wednesday from stroke complications and Parkinson’s disease.\u003c/p>\n\u003cp>When he was five years old, Valentin started playing bongos and congas. His father, who was in the Merchant Marine, had brought them home from Brazil.\u003c/p>\n\u003cp>Valentin took piano lessons at 9 and was playing percussion for paying gigs when he was 10.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He recorded more than a dozen albums — either as a solo artist, band leader or playing on other artists’ recordings.\u003c/p>\n\u003cp>Valentin toured with his childhood idol, percussionist Tito Puente, and was music director of Puente’s Golden Latin Jazz All-Stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/03/08/arts/music/dave-valentin-dead-latin-jazz-flutist.html\">The New York Times\u003c/a> reports Valentin delighted in recounting how he became a flutist:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘I started out as a percussionist in school. But I wanted to meet this girl, Irene, who was a flutist,’ he recalled in 2011.\u003c/p>\n\u003cp>” ‘She showed me a scale, and I played it immediately. Do-re-me-fa-so-la-ti-do. Without knowing nothing! So, I borrowed a flute, bought a Herbie Mann record and learned “Comin’ Home Baby.”\u003c/p>\n\u003cp>” ‘Three weeks later, I went to her and played it,’ he continued. ‘I knew I had her! She said, “I’ve been taking lessons for three years and you come in here in three weeks and play like that? Don’t ever talk to me again!”\u003c/p>\n\u003cp>” ‘I lost the girl, but kept the flute.’ ”\u003c/p>\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=Grammy+Award-Winning+Latin+Jazz+Flutist+Dave+Valentin+Dies+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dave Valentin became one of the pre-eminent flutists in Latin jazz. He was known for his creative combination of fusion, pop and R&B.\u003c/p>\n\u003cp>He won a Grammy in 2003 for best Latin jazz album for “The Gathering,” by the Caribbean Jazz Project. Vibraphonist Dave Samuels was also featured on that record.\u003c/p>\n\u003cp>Manager Richie Bonilla told news agencies that Valentin, 64, who had suffered multiple strokes over the last several years, died Wednesday from stroke complications and Parkinson’s disease.\u003c/p>\n\u003cp>When he was five years old, Valentin started playing bongos and congas. His father, who was in the Merchant Marine, had brought them home from Brazil.\u003c/p>\n\u003cp>Valentin took piano lessons at 9 and was playing percussion for paying gigs when he was 10.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He recorded more than a dozen albums — either as a solo artist, band leader or playing on other artists’ recordings.\u003c/p>\n\u003cp>Valentin toured with his childhood idol, percussionist Tito Puente, and was music director of Puente’s Golden Latin Jazz All-Stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/03/08/arts/music/dave-valentin-dead-latin-jazz-flutist.html\">The New York Times\u003c/a> reports Valentin delighted in recounting how he became a flutist:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘I started out as a percussionist in school. But I wanted to meet this girl, Irene, who was a flutist,’ he recalled in 2011.\u003c/p>\n\u003cp>” ‘She showed me a scale, and I played it immediately. Do-re-me-fa-so-la-ti-do. Without knowing nothing! So, I borrowed a flute, bought a Herbie Mann record and learned “Comin’ Home Baby.”\u003c/p>\n\u003cp>” ‘Three weeks later, I went to her and played it,’ he continued. ‘I knew I had her! She said, “I’ve been taking lessons for three years and you come in here in three weeks and play like that? Don’t ever talk to me again!”\u003c/p>\n\u003cp>” ‘I lost the girl, but kept the flute.’ ”\u003c/p>\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=Grammy+Award-Winning+Latin+Jazz+Flutist+Dave+Valentin+Dies+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s no dearth of culture and language in Southern California. The Census Bureau rates the 40 most common languages spoken by Americans — and 39 of them are spoken in L.A.\u003c/p>\n\u003cp>At a church in Santa Ana, you’ll hear sounds that have resonated for thousands of years. Each Saturday morning, people gather to speak and learn the ancient language of the Aztecs: Nahuatl.\u003c/p>\n\u003cp>Five centuries after the Aztec culture was crushed by Spanish conquistadors, the language survives, still spoken by an estimated 1.5 million people, mostly in central Mexico.\u003c/p>\n\u003ch2>A Man on a Mission\u003c/h2>\n\u003cp>For about 26 years, David Vazquez has been teaching the ancient language and culture of the Aztecs.\u003c/p>\n\u003cp>“One class usually goes over history, customs and traditions and words the students aren’t familiar with,” said Vazquez. “The goal is to continue, with our students, to try to rescue our official language.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The classroom at Messiah Episcopal Church in Santa Ana holds about 30 students. Among the students was Vazquez’s own granddaughter, Citlali Jimenez.\u003c/p>\n\u003cp>“Learning this language that my grandfather teaches is important to me,” Jimenez said, “because seeing him teaching other people … it’s inspiring that other people are trying to learn this language, too.”\u003c/p>\n\u003cfigure id=\"attachment_11352026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11352026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg\" alt=\"David Vazquez teaches Aztec language class in Santa Ana.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Vazquez teaches Aztec language class in Santa Ana. \u003ccite>(Lori Galarreta/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also attending was Jose Vega, who cited his reason for attending class as an interest in tracing his roots.\u003c/p>\n\u003cp>“I’ve been coming to these classes close to four months now. I just had to get a better understanding of what the past was. Now we’re living, and we don’t know who we are or where we come from. Some of us don’t bother to look back and see who our people used to be or the way they used to live,” he said.\u003c/p>\n\u003cp>Ulises de Los Cobos grew up in San Diego and had heard of David’s work from 200 miles away, “I had heard his slogan ‘Mexica Tiahui.’ Mexica, which is also known as the Aztecs, and Tiahui, means forward, so Mexica Tiahui is Mexica forward. To me, it means we are moving forward. It’s the next step.”\u003c/p>\n\u003cp>Inspiring students to get in touch with their roots and also creating new Nahuatl teachers is David’s main goal. He keeps his classroom doors open to all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We welcome anyone as long as they feel the love, care and respect to learn this language. Our purpose is to be inclusive. Whoever speaks English, Spanish or just wants to improve their Nahuatl, we’re all happy to support them. That way we can have new teachers.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no dearth of culture and language in Southern California. The Census Bureau rates the 40 most common languages spoken by Americans — and 39 of them are spoken in L.A.\u003c/p>\n\u003cp>At a church in Santa Ana, you’ll hear sounds that have resonated for thousands of years. Each Saturday morning, people gather to speak and learn the ancient language of the Aztecs: Nahuatl.\u003c/p>\n\u003cp>Five centuries after the Aztec culture was crushed by Spanish conquistadors, the language survives, still spoken by an estimated 1.5 million people, mostly in central Mexico.\u003c/p>\n\u003ch2>A Man on a Mission\u003c/h2>\n\u003cp>For about 26 years, David Vazquez has been teaching the ancient language and culture of the Aztecs.\u003c/p>\n\u003cp>“One class usually goes over history, customs and traditions and words the students aren’t familiar with,” said Vazquez. “The goal is to continue, with our students, to try to rescue our official language.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The classroom at Messiah Episcopal Church in Santa Ana holds about 30 students. Among the students was Vazquez’s own granddaughter, Citlali Jimenez.\u003c/p>\n\u003cp>“Learning this language that my grandfather teaches is important to me,” Jimenez said, “because seeing him teaching other people … it’s inspiring that other people are trying to learn this language, too.”\u003c/p>\n\u003cfigure id=\"attachment_11352026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11352026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg\" alt=\"David Vazquez teaches Aztec language class in Santa Ana.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Vazquez teaches Aztec language class in Santa Ana. \u003ccite>(Lori Galarreta/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also attending was Jose Vega, who cited his reason for attending class as an interest in tracing his roots.\u003c/p>\n\u003cp>“I’ve been coming to these classes close to four months now. I just had to get a better understanding of what the past was. Now we’re living, and we don’t know who we are or where we come from. Some of us don’t bother to look back and see who our people used to be or the way they used to live,” he said.\u003c/p>\n\u003cp>Ulises de Los Cobos grew up in San Diego and had heard of David’s work from 200 miles away, “I had heard his slogan ‘Mexica Tiahui.’ Mexica, which is also known as the Aztecs, and Tiahui, means forward, so Mexica Tiahui is Mexica forward. To me, it means we are moving forward. It’s the next step.”\u003c/p>\n\u003cp>Inspiring students to get in touch with their roots and also creating new Nahuatl teachers is David’s main goal. He keeps his classroom doors open to all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We welcome anyone as long as they feel the love, care and respect to learn this language. Our purpose is to be inclusive. Whoever speaks English, Spanish or just wants to improve their Nahuatl, we’re all happy to support them. That way we can have new teachers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Poetry can be an act of creative resistance. At least that’s the idea for the \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetic Address to the Nation\u003c/em>\u003c/a>, on Saturday, March 11, at the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts \u003c/a>(YBCA). The event is the brainchild of a quirky network of artists and activists calling itself \u003ca href=\"http://usdac.us/\" target=\"_blank\" rel=\"noopener\">The U.S. Department of Arts and Culture \u003c/a>(USDAC) — decidedly not a government agency.\u003c/p>\n\u003cp>“The president gives a speech once a year,” says \u003ca href=\"http://usdac.us/team/\" target=\"_blank\" rel=\"noopener\">Adam Horowitz\u003c/a>, who calls himself the Chief Instigator at the USDAC, “what a great time for all of us to come together, and make sense of the country, because Democracy is a conversation not a monologue.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the past three years, the group has gathered \u003ca href=\"http://psotu17.tumblr.com/\" target=\"_blank\" rel=\"noopener\">story circles in libraries, churches and schools across the country\u003c/a> to coincide with the President’s State of The Union Address. (President Donald Trump’s joint address to Congress stands in this year.)\u003c/p>\n\u003cp>Horowitz says that the story circles were especially charged events this year, with many worrying that American democratic values were under attack by the Trump Administration. “We saw a need,” he says, “for people to come together with allies and to know their voices can be amplified outside this circle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hvP73nhGDIY\u003c/p>\n\u003cp>The Poetic Address (previously staged in Philadelphia and New York City), is the next step, a chance for writers to distill first-person stories from the circles — about immigration, being a good neighbor, or race — and turn them into poems that speak to the state of the nation. “To take all of those stories, and make sense of them,” Horowitz says, “we need that strange and sharp and precise language that’s possible in poetry to kind of distill the essence of it.\u003c/p>\n\u003cp>Horowitz and the organizers at YBCA have invited just over a dozen poets to the Saturday event, including Luis Rodriguez, the former Los Angeles poet laureate, \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a>, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/michelle-lee\" target=\"_blank\" rel=\"noopener\">Michelle Lee\u003c/a>, Marvin K. White, the youth group \u003ca href=\"http://proud2beblack.org/the-kids/\" target=\"_blank\" rel=\"noopener\">Young Gifted & Black \u003c/a>and San Francisco’s Tongo Eisen-Martin.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yDtHFhS5oCA\u003c/p>\n\u003cp>“This is really our planet,” Eisen-Martin says. “And we do not have to go along with this kind of farcical organization of power we see right now. The only true power really lies with the people.”\u003c/p>\n\u003cp>Eisen-Martin, a tall bearded poet and an African-American who lives in \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">a city with a fast-shrinking black population\u003c/a>, shares a portion of the poem he plans to read at the Saturday event:\u003c/p>\n\u003cblockquote>\u003cp>A politician raises his hand. And the crowd shows their teeth.\u003cbr>\nAn oligarch raises his hand, little girls are not safe outside,\u003cbr>\nYou are all high depressed, and comrades in function.\u003cbr>\nFifteen minutes to closing, and the city’s survived another black rebellion, stay down.\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=FQe-E1QsbS8\u003c/p>\n\u003cp>Organizers hope to boost the voices of resistance to President Trump’s policies on immigration, the environment and health care. But Horowitz says the story circles met in both blue states and red states.\u003c/p>\n\u003cp>“We got notes from people saying, ‘In my story circle I was able to have my first bipartisan dialogue,'” Horowitz says. “And hopefully it ripples out beyond that.”\u003c/p>\n\u003cp>The Yerba Buena Center for the Arts picked poet and screenwriter Chinaka Hodge to emcee the event. She says she doesn’t expect a lot of Trump supporters at YBCA on Saturday, but she said the livestream on Facebook could build some bridges.\u003c/p>\n\u003cfigure id=\"attachment_12870975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12870975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg\" alt=\"Chinaka Hodge will MC the Poetic Address to the Nation March 11th at the Yerba Buena Center for the Arts\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1920x1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge will emcee the Poetic Address to the Nation on March 11th at the Yerba Buena Center for the Arts. \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping someone who’s not expecting to be moved,” she says, “who’s expecting to heckle, to troll our Facebook livestream, I hope they find some inspiration, and they see themselves reflected, and we’re telling their story as well, and we have a real dialogue.”\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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Poetic Address to the Nation gets underway on Saturday, March 11, at the Yerba Buena Center for the Arts. More details and info \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"description": "Chinaka Hodge emcees the 'Poetic Address to the Nation,' a group event at YBCA with Luis Rodriguez, Michelle Lee, Tongo Eisen-Martin and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poetry can be an act of creative resistance. At least that’s the idea for the \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetic Address to the Nation\u003c/em>\u003c/a>, on Saturday, March 11, at the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts \u003c/a>(YBCA). The event is the brainchild of a quirky network of artists and activists calling itself \u003ca href=\"http://usdac.us/\" target=\"_blank\" rel=\"noopener\">The U.S. Department of Arts and Culture \u003c/a>(USDAC) — decidedly not a government agency.\u003c/p>\n\u003cp>“The president gives a speech once a year,” says \u003ca href=\"http://usdac.us/team/\" target=\"_blank\" rel=\"noopener\">Adam Horowitz\u003c/a>, who calls himself the Chief Instigator at the USDAC, “what a great time for all of us to come together, and make sense of the country, because Democracy is a conversation not a monologue.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the past three years, the group has gathered \u003ca href=\"http://psotu17.tumblr.com/\" target=\"_blank\" rel=\"noopener\">story circles in libraries, churches and schools across the country\u003c/a> to coincide with the President’s State of The Union Address. (President Donald Trump’s joint address to Congress stands in this year.)\u003c/p>\n\u003cp>Horowitz says that the story circles were especially charged events this year, with many worrying that American democratic values were under attack by the Trump Administration. “We saw a need,” he says, “for people to come together with allies and to know their voices can be amplified outside this circle.”\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/hvP73nhGDIY'\n title='//www.youtube.com/embed/hvP73nhGDIY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Poetic Address (previously staged in Philadelphia and New York City), is the next step, a chance for writers to distill first-person stories from the circles — about immigration, being a good neighbor, or race — and turn them into poems that speak to the state of the nation. “To take all of those stories, and make sense of them,” Horowitz says, “we need that strange and sharp and precise language that’s possible in poetry to kind of distill the essence of it.\u003c/p>\n\u003cp>Horowitz and the organizers at YBCA have invited just over a dozen poets to the Saturday event, including Luis Rodriguez, the former Los Angeles poet laureate, \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a>, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/michelle-lee\" target=\"_blank\" rel=\"noopener\">Michelle Lee\u003c/a>, Marvin K. White, the youth group \u003ca href=\"http://proud2beblack.org/the-kids/\" target=\"_blank\" rel=\"noopener\">Young Gifted & Black \u003c/a>and San Francisco’s Tongo Eisen-Martin.\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/yDtHFhS5oCA'\n title='//www.youtube.com/embed/yDtHFhS5oCA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This is really our planet,” Eisen-Martin says. “And we do not have to go along with this kind of farcical organization of power we see right now. The only true power really lies with the people.”\u003c/p>\n\u003cp>Eisen-Martin, a tall bearded poet and an African-American who lives in \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">a city with a fast-shrinking black population\u003c/a>, shares a portion of the poem he plans to read at the Saturday event:\u003c/p>\n\u003cblockquote>\u003cp>A politician raises his hand. And the crowd shows their teeth.\u003cbr>\nAn oligarch raises his hand, little girls are not safe outside,\u003cbr>\nYou are all high depressed, and comrades in function.\u003cbr>\nFifteen minutes to closing, and the city’s survived another black rebellion, stay down.\u003c/p>\u003c/blockquote>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FQe-E1QsbS8'\n title='//www.youtube.com/embed/FQe-E1QsbS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Organizers hope to boost the voices of resistance to President Trump’s policies on immigration, the environment and health care. But Horowitz says the story circles met in both blue states and red states.\u003c/p>\n\u003cp>“We got notes from people saying, ‘In my story circle I was able to have my first bipartisan dialogue,'” Horowitz says. “And hopefully it ripples out beyond that.”\u003c/p>\n\u003cp>The Yerba Buena Center for the Arts picked poet and screenwriter Chinaka Hodge to emcee the event. She says she doesn’t expect a lot of Trump supporters at YBCA on Saturday, but she said the livestream on Facebook could build some bridges.\u003c/p>\n\u003cfigure id=\"attachment_12870975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12870975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg\" alt=\"Chinaka Hodge will MC the Poetic Address to the Nation March 11th at the Yerba Buena Center for the Arts\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1920x1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge will emcee the Poetic Address to the Nation on March 11th at the Yerba Buena Center for the Arts. \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping someone who’s not expecting to be moved,” she says, “who’s expecting to heckle, to troll our Facebook livestream, I hope they find some inspiration, and they see themselves reflected, and we’re telling their story as well, and we have a real dialogue.”\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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Poetic Address to the Nation gets underway on Saturday, March 11, at the Yerba Buena Center for the Arts. More details and info \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fred Weintraub, Founder of the Bitter End and 'Enter The Dragon' Producer, Dies at 88",
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"content": "\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\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=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\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=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://en.wikipedia.org/wiki/Lisa_Loomer\" target=\"_blank\" rel=\"noopener\">Lisa Loomer\u003c/a> began writing \u003cem>Roe\u003c/em>, her play currently at Berkeley Repertory Theater about the landmark Supreme Court decision \u003cem>Roe v. Wade\u003c/em>, she wasn’t alone in assuming that the \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/hillary-clintons-powerful-defense-of-abortion-rights/504866/\" target=\"_blank\" rel=\"noopener\">pro-choice Hillary Clinton\u003c/a> would be the next President of the United States.\u003c/p>\n\u003cp>Now, with the election of President Donald Trump — who has \u003ca href=\"https://www.nytimes.com/2017/01/31/us/politics/supreme-court-nominee-trump.html\" target=\"_blank\" rel=\"noopener\">pledged to appoint justices who will overturn Roe\u003c/a> — the play (a co-commission with the \u003ca href=\"https://www.nytimes.com/2016/08/28/theater/lisa-loomer-abortion-play-roe.html\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> and Washington D.C.’s \u003ca href=\"http://www.arenastage.org/shows-tickets/the-season/productions/roe/\" target=\"_blank\" rel=\"noopener\">Arena Stage\u003c/a>) has become a much more cautionary tale. We recently talked with Loomer in Berkeley about \u003cem>Roe\u003c/em>, and how its meaning has changed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Does Trump’s election change what \u003cem>Roe\u003c/em> means for you, and for the audience?\u003c/strong>\u003c/p>\n\u003cp>The fascinating thing was reading the play the day after the election, just quietly reading it in my room; it played differently. Scenes that were celebratory now play as “Oh my God, we won that, but look where we are now.” Scenes that were cautionary in terms of the history of this issue, because this law has been whittled away tremendously over time, you hear totally differently because of what’s happening now. Our intention was to present the play during the election of the first woman president, and things worked out very, very differently. So what was funny then, may be less funny now. What was tragic then, may be more tragic now. There’s a lot of audience response in the play, arguments have broken out. It’s a hot time and a hot issue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Another thing that’s changed is the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/18/515972447/norma-mccorvey-roe-of-landmark-roe-v-wade-ruling-on-abortion-dies-at-69\" target=\"_blank\" rel=\"noopener\">death last month of Norma McCorvey\u003c/a>, better known as Jane Roe, the plaintiff in Roe v. Wade — who, later in her life, became an opponent of abortion. What does the play say about McCorvey, and do we perceive her character differently, knowing that she’s gone? \u003c/strong>\u003c/p>\n\u003cp>I think of Norma McCorvey as a very complicated woman, and an accidental figure in history. When I started to read about these two women, \u003ca href=\"http://www.weddingtoncenter.com/\" target=\"_blank\" rel=\"noopener\">Sarah Weddington\u003c/a> (the attorney who represented McCorvey in the case) and Norma, I thought, “This is the story of my play.” They begin as allies, plaintiff and lawyer. But after the case, their divergent journeys reflect the subsequent divide in American culture in an uncanny way (Weddington became a Texas legislator and remains a staunch defender of abortion). This is the story I wanted to tell; how we can’t even talk to each other, because we approach issues like this from such different places. Why are we such a divided culture? Why do we resort to yelling, and screaming, and sound bites, and slogans?\u003c/p>\n\u003cfigure id=\"attachment_12861209\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg\" alt=\"Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater\" width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg 373w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-240x360.jpg 240w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater. \u003ccite>(Photo: Joe Romano/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Perhaps a play can’t answer that question. But why \u003cem>do\u003c/em> you think we can’t we talk about abortion, and how does the play help bridge the divide? \u003c/strong>\u003c/p>\n\u003cp>I think you’re right, a play can’t answer a question. But I think that a play can illuminate the feelings on both sides, and that’s what our news fails to do, and what theater can do so beautifully, because it reveals the human side of the story. We see characters dealing with these very difficult questions.\u003c/p>\n\u003cp>In one scene, set in the Supreme Court, one of the Justices asks, “Is this a religious question, is it a medical question, is it a philosophical question? What is it? How do we define life?” And one of the other characters says “Good question.” The audience gets to ask that question for themselves.\u003c/p>\n\u003cp>Listen, nobody has come to this play and said, “I walked in pro-choice, and I walked out pro-life,” or vice-versa. And that’s not my intention. What I have heard, though, in letters from audience members, they’ve said, “Darn it. You made me understand and even have some compassion for the other side.”\u003c/p>\n\u003cp>Someone said, “I went with a friend who thinks differently than I do. We’ve never talked about it. We talked about it all the way home. So it’s given people a way to talk. Some language, some permission, some inspiration to talk. And that’s what theater can do.\u003c/p>\n\u003cfigure id=\"attachment_12861211\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roe-3.jpg\" alt=\"A scene from 'Roe' at Berkeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble).\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Roe’ at Bekeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble). \u003ccite>(Photo: Jenny Graham/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So what impact can this play have on audiences or national politics?\u003c/strong>\u003c/p>\n\u003cp>I have to admit I am interested in opening an audience member’s mind — by opening his or her heart. I think of a term that my friend Father Greg Boyle uses, “a reverence for the complexity of human beings.” And that said, I think the play is also a call to action for people who are pro-choice. And that’s good. Roe is at risk. And if this play is also a call to action for people who are pro-life, that’s great too.\u003c/p>\n\u003cp>The awful thing about being a human being is that we have to make terrible choices. And for me, looking at what choice means, it made me very wary of people who would seek to make my choices seemingly easier than they are.\u003c/p>\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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://en.wikipedia.org/wiki/Lisa_Loomer\" target=\"_blank\" rel=\"noopener\">Lisa Loomer\u003c/a> began writing \u003cem>Roe\u003c/em>, her play currently at Berkeley Repertory Theater about the landmark Supreme Court decision \u003cem>Roe v. Wade\u003c/em>, she wasn’t alone in assuming that the \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/hillary-clintons-powerful-defense-of-abortion-rights/504866/\" target=\"_blank\" rel=\"noopener\">pro-choice Hillary Clinton\u003c/a> would be the next President of the United States.\u003c/p>\n\u003cp>Now, with the election of President Donald Trump — who has \u003ca href=\"https://www.nytimes.com/2017/01/31/us/politics/supreme-court-nominee-trump.html\" target=\"_blank\" rel=\"noopener\">pledged to appoint justices who will overturn Roe\u003c/a> — the play (a co-commission with the \u003ca href=\"https://www.nytimes.com/2016/08/28/theater/lisa-loomer-abortion-play-roe.html\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> and Washington D.C.’s \u003ca href=\"http://www.arenastage.org/shows-tickets/the-season/productions/roe/\" target=\"_blank\" rel=\"noopener\">Arena Stage\u003c/a>) has become a much more cautionary tale. We recently talked with Loomer in Berkeley about \u003cem>Roe\u003c/em>, and how its meaning has changed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Does Trump’s election change what \u003cem>Roe\u003c/em> means for you, and for the audience?\u003c/strong>\u003c/p>\n\u003cp>The fascinating thing was reading the play the day after the election, just quietly reading it in my room; it played differently. Scenes that were celebratory now play as “Oh my God, we won that, but look where we are now.” Scenes that were cautionary in terms of the history of this issue, because this law has been whittled away tremendously over time, you hear totally differently because of what’s happening now. Our intention was to present the play during the election of the first woman president, and things worked out very, very differently. So what was funny then, may be less funny now. What was tragic then, may be more tragic now. There’s a lot of audience response in the play, arguments have broken out. It’s a hot time and a hot issue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Another thing that’s changed is the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/18/515972447/norma-mccorvey-roe-of-landmark-roe-v-wade-ruling-on-abortion-dies-at-69\" target=\"_blank\" rel=\"noopener\">death last month of Norma McCorvey\u003c/a>, better known as Jane Roe, the plaintiff in Roe v. Wade — who, later in her life, became an opponent of abortion. What does the play say about McCorvey, and do we perceive her character differently, knowing that she’s gone? \u003c/strong>\u003c/p>\n\u003cp>I think of Norma McCorvey as a very complicated woman, and an accidental figure in history. When I started to read about these two women, \u003ca href=\"http://www.weddingtoncenter.com/\" target=\"_blank\" rel=\"noopener\">Sarah Weddington\u003c/a> (the attorney who represented McCorvey in the case) and Norma, I thought, “This is the story of my play.” They begin as allies, plaintiff and lawyer. But after the case, their divergent journeys reflect the subsequent divide in American culture in an uncanny way (Weddington became a Texas legislator and remains a staunch defender of abortion). This is the story I wanted to tell; how we can’t even talk to each other, because we approach issues like this from such different places. Why are we such a divided culture? Why do we resort to yelling, and screaming, and sound bites, and slogans?\u003c/p>\n\u003cfigure id=\"attachment_12861209\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg\" alt=\"Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater\" width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg 373w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-240x360.jpg 240w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater. \u003ccite>(Photo: Joe Romano/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Perhaps a play can’t answer that question. But why \u003cem>do\u003c/em> you think we can’t we talk about abortion, and how does the play help bridge the divide? \u003c/strong>\u003c/p>\n\u003cp>I think you’re right, a play can’t answer a question. But I think that a play can illuminate the feelings on both sides, and that’s what our news fails to do, and what theater can do so beautifully, because it reveals the human side of the story. We see characters dealing with these very difficult questions.\u003c/p>\n\u003cp>In one scene, set in the Supreme Court, one of the Justices asks, “Is this a religious question, is it a medical question, is it a philosophical question? What is it? How do we define life?” And one of the other characters says “Good question.” The audience gets to ask that question for themselves.\u003c/p>\n\u003cp>Listen, nobody has come to this play and said, “I walked in pro-choice, and I walked out pro-life,” or vice-versa. And that’s not my intention. What I have heard, though, in letters from audience members, they’ve said, “Darn it. You made me understand and even have some compassion for the other side.”\u003c/p>\n\u003cp>Someone said, “I went with a friend who thinks differently than I do. We’ve never talked about it. We talked about it all the way home. So it’s given people a way to talk. Some language, some permission, some inspiration to talk. And that’s what theater can do.\u003c/p>\n\u003cfigure id=\"attachment_12861211\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roe-3.jpg\" alt=\"A scene from 'Roe' at Berkeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble).\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Roe’ at Bekeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble). \u003ccite>(Photo: Jenny Graham/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So what impact can this play have on audiences or national politics?\u003c/strong>\u003c/p>\n\u003cp>I have to admit I am interested in opening an audience member’s mind — by opening his or her heart. I think of a term that my friend Father Greg Boyle uses, “a reverence for the complexity of human beings.” And that said, I think the play is also a call to action for people who are pro-choice. And that’s good. Roe is at risk. And if this play is also a call to action for people who are pro-life, that’s great too.\u003c/p>\n\u003cp>The awful thing about being a human being is that we have to make terrible choices. 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"content": "\u003cp>Chance the Rapper’s unusual intervention into Chicago Public Schools’ funding crisis took an even more curious turn Monday when the Grammy-winner presented a $1 million check to city schools and urged Gov. Bruce Rauner to use his executive powers to help the nation’s third-largest district.\u003c/p>\n\u003cp>The Republican governor, a former venture capitalist, responded by noting his own philanthropy and floating Chicago school funding ideas that would face tough odds in the Democratic-controlled Legislature. Illinois has gone two years without a budget, the longest such stalemate of any state in nearly a century.\u003c/p>\n\u003cp>The back-and-forth came after a meeting Friday between Rauner and the artist — whose real name is Chancelor Bennett — that left the rapper visibly agitated. Chance asked for the meeting after he won three Grammys last month, including best new artist, and Rauner tweeted congratulations.\u003c/p>\n\u003cp>The Chicago native stopped at an elementary school near where he grew up to announce the donation to a schools’ foundation, calling himself a “public school kid.” He also accused Rauner of failing to present solutions without “caveats or ultimatums.”\u003c/p>\n\u003cp>“This isn’t about politics. This isn’t about posturing. This is about taking care of the kids,” he said. “Everybody and their mama knows what’s going on in Chicago. We’re about to enhance the conversation on supporting and funding the education of the kids in Chicago.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the heart of rapper’s beef with Rauner is $215 million in teacher pension relief for Chicago schools that he vetoed last year. Rauner said a broader pension overhaul was needed, part of his push for pro-business and long-term reforms. However, the school district of roughly 400,000 students had factored the money into its roughly $5.4 billion budget and had to make mid-year cuts. The district has also proposed ending the school year early to save money.\u003c/p>\n\u003cp>Rauner, who called the meeting a “good exchange of views,” circulated plans before Chance’s public appearance for ways to recover the $215 million; both require state legislation. One option calls for using up most of Chicago’s special taxing district funds, set aside for capital projects, for a one-time infusion. The other would attach the funding to broader pension reform.\u003c/p>\n\u003cp>Chicago officials rejected both, saying Illinois’ school funding formula is fundamentally unfair to the largely minority and poor school district. CPS has sued the state over the calculation and argues the district is further penalized since it’s the only one in Illinois where local taxpayers, not the state, help pay teacher pension costs.\u003c/p>\n\u003cp>Chance also dismissed the plans, saying he wasn’t a politician.\u003c/p>\n\u003cp>“It’s not my job to propose any policy or be behind anything but the kids,” he said.\u003c/p>\n\u003cp>Rauner’s office issued a statement detailing his history of giving: roughly $7 million over 20 years to organizations benefiting Chicago students.\u003c/p>\n\u003cp>“While the Rauners are passionate donors to our schools, individual contributions will never be enough to address the financial challenges facing CPS,” the statement said. “It would be helpful if CPS officials came to Springfield and joined in serious good faith discussions about the long-term stability of all of our schools.”\u003c/p>\n\u003cp>Rauner has blamed Chicago’s fiscal woes on years of financial mismanagement and argues that Chicago receives hundreds of millions in block grants other schools don’t.\u003c/p>\n\u003cp>Meanwhile, Chance deemed his donation — from the concert ticket proceeds — a “call to action” and asked other artists and corporations to follow suit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The rapper has family ties to prominent Democrats. His father worked in former President Barack Obama’s Cabinet and for Chicago Mayor Rahm Emanuel. Chance has been civically engaged before, leading a march to the polls in November and serving on the board of Chicago’s DuSable Museum of African American History.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the heart of rapper’s beef with Rauner is $215 million in teacher pension relief for Chicago schools that he vetoed last year. Rauner said a broader pension overhaul was needed, part of his push for pro-business and long-term reforms. However, the school district of roughly 400,000 students had factored the money into its roughly $5.4 billion budget and had to make mid-year cuts. The district has also proposed ending the school year early to save money.\u003c/p>\n\u003cp>Rauner, who called the meeting a “good exchange of views,” circulated plans before Chance’s public appearance for ways to recover the $215 million; both require state legislation. One option calls for using up most of Chicago’s special taxing district funds, set aside for capital projects, for a one-time infusion. The other would attach the funding to broader pension reform.\u003c/p>\n\u003cp>Chicago officials rejected both, saying Illinois’ school funding formula is fundamentally unfair to the largely minority and poor school district. CPS has sued the state over the calculation and argues the district is further penalized since it’s the only one in Illinois where local taxpayers, not the state, help pay teacher pension costs.\u003c/p>\n\u003cp>Chance also dismissed the plans, saying he wasn’t a politician.\u003c/p>\n\u003cp>“It’s not my job to propose any policy or be behind anything but the kids,” he said.\u003c/p>\n\u003cp>Rauner’s office issued a statement detailing his history of giving: roughly $7 million over 20 years to organizations benefiting Chicago students.\u003c/p>\n\u003cp>“While the Rauners are passionate donors to our schools, individual contributions will never be enough to address the financial challenges facing CPS,” the statement said. “It would be helpful if CPS officials came to Springfield and joined in serious good faith discussions about the long-term stability of all of our schools.”\u003c/p>\n\u003cp>Rauner has blamed Chicago’s fiscal woes on years of financial mismanagement and argues that Chicago receives hundreds of millions in block grants other schools don’t.\u003c/p>\n\u003cp>Meanwhile, Chance deemed his donation — from the concert ticket proceeds — a “call to action” and asked other artists and corporations to follow suit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The rapper has family ties to prominent Democrats. His father worked in former President Barack Obama’s Cabinet and for Chicago Mayor Rahm Emanuel. Chance has been civically engaged before, leading a march to the polls in November and serving on the board of Chicago’s DuSable Museum of African American History.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Osborne, the genial face of Turner Classic Movies and a walking encyclopedia of classic Hollywood, has died. He was 84.\u003c/p>\n\u003cp>Jennifer Dorian, general manager of TCM, announced Osborne’s death Monday. A publicist for the network said he passed away Monday in New York.\u003c/p>\n\u003cp>“His calming presence, gentlemanly style, encyclopedic knowledge of film history, fervent support for film preservation and highly personal interviewing style all combined to make him a truly world-class host,” said Dorian. “Robert’s contributions were fundamental in shaping TCM into what it is today and we owe him a debt of gratitude that can never be repaid.”\u003c/p>\n\u003cp>A cause of death was not announced, though Osborne’s waning health had forced him to miss the previous two TCM Film Festivals, which he hosted annually in Los Angeles.\u003c/p>\n\u003cp>Osborne was there from the inception of Ted Turner’s commercial-free classic movie network. To open its first broadcast on April 14, 1994, he introduced “Gone With the Wind.” In the decades after, he remained Turner Classic’s primary — and often sole — host.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For TCM viewers, Osborne was a constant and comforting presence. He presented nightly films and movies packaged in series like “The Essentials” with bits of history and trivia. He also conducted interviews with stars for the network’s guest programmer evenings. His intros — always beginning “Hi, I’m Robert Osborne” — were the warm appetizers to countless feasts of Hollywood classics.\u003c/p>\n\u003cp>In a 2014 interview with The Associated Press, Osborne — who previously worked as a Hollywood Reporter columnist and as host of the Movie Channel — recalled his long-standing obsession with Hollywood. Even in college, he maintained a black book, nicknamed “Blackie,” of his research into films and the details of their making.\u003c/p>\n\u003cp>“I was ready with all that information when a job was created. I prepared for something that didn’t exist,” said Osborne.\u003c/p>\n\u003cp>Born in Colfax, Washington, Osborne studied journalism at the University of Washington and spent two years in the Air Force in Seattle. He then moved to Los Angeles to make it as an actor, and was signed by Lucille Ball and Desi Arnaz’s Desilu Studios. Ball, who remained a mentor to him up until her death in 1989, encouraged Osborne to pursue writing — “especially after she saw me act,” Osborne would recall.\u003c/p>\n\u003cp>He joined the Hollywood Reporter in 1977 and for years wrote its “Rambling Reporter” column. But he found his home at TCM. To tape his segments, Osborne flew once a month from his New York home to TCM’s Atlanta studio.\u003c/p>\n\u003cp>With Osborne as its ambassador, the cultishly adored TCM developed into a wider-reaching mainstay of movie love, including not just the popular film festival but an annual cruise.\u003c/p>\n\u003cp>“I get stopped on the street all the time,” Osborne once told The New York Times. “People say: ‘You got me through cancer last year. You got me past unemployment. You take me away from my troubles.’ Exactly what movies did in the ’30s and ’40s.”\u003c/p>\n\u003cp>Osborne was an Academy Awards historian, too. He wrote his first history of the Oscars in 1965 (“Academy Awards Illustrated”) and later became its official red-carpet greeter. He wrote several official histories of the Academy Awards, including 2008’s “80 Years of the Oscar.”\u003c/p>\n\u003cp>He was unabashed about his proclivity for ’30s-’50s-era Hollywood. Turner Classic has somewhat expanded beyond that heyday, and in 2003 brought in Ben Mankiewicz as a second host. Mankiewicz on Monday praised Osborne for forging “a profound link to movie lovers, a visceral sense of connection to our history, to our parents and grandparents.”\u003c/p>\n\u003cp>For Osborne, that connection was forged early on, and his affection for Golden Age Hollywood remained forever undimmed.\u003c/p>\n\u003cp>“We don’t seem to want people bigger than life. We want people who look ordinary,” Osborne lamented in 2014. Growing up in a small Washington state town, he said, “there was never anybody who looked like Audrey Hepburn or Lana Turner or Hedy Lamarr …. actresses who were bigger than life.”\u003c/p>\n\u003cp>But Osborne’s genuine passion for a dapper kind of film connoisseurship was unquestioned by the TCM viewers who happily watched him stride into their living room, again and again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If I wasn’t doing it (on TV) I’d be doing it as a hobby,” Osborne said, “so I might as well get paid for it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Osborne, the genial face of Turner Classic Movies and a walking encyclopedia of classic Hollywood, has died. He was 84.\u003c/p>\n\u003cp>Jennifer Dorian, general manager of TCM, announced Osborne’s death Monday. A publicist for the network said he passed away Monday in New York.\u003c/p>\n\u003cp>“His calming presence, gentlemanly style, encyclopedic knowledge of film history, fervent support for film preservation and highly personal interviewing style all combined to make him a truly world-class host,” said Dorian. “Robert’s contributions were fundamental in shaping TCM into what it is today and we owe him a debt of gratitude that can never be repaid.”\u003c/p>\n\u003cp>A cause of death was not announced, though Osborne’s waning health had forced him to miss the previous two TCM Film Festivals, which he hosted annually in Los Angeles.\u003c/p>\n\u003cp>Osborne was there from the inception of Ted Turner’s commercial-free classic movie network. To open its first broadcast on April 14, 1994, he introduced “Gone With the Wind.” In the decades after, he remained Turner Classic’s primary — and often sole — host.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For TCM viewers, Osborne was a constant and comforting presence. He presented nightly films and movies packaged in series like “The Essentials” with bits of history and trivia. He also conducted interviews with stars for the network’s guest programmer evenings. His intros — always beginning “Hi, I’m Robert Osborne” — were the warm appetizers to countless feasts of Hollywood classics.\u003c/p>\n\u003cp>In a 2014 interview with The Associated Press, Osborne — who previously worked as a Hollywood Reporter columnist and as host of the Movie Channel — recalled his long-standing obsession with Hollywood. Even in college, he maintained a black book, nicknamed “Blackie,” of his research into films and the details of their making.\u003c/p>\n\u003cp>“I was ready with all that information when a job was created. I prepared for something that didn’t exist,” said Osborne.\u003c/p>\n\u003cp>Born in Colfax, Washington, Osborne studied journalism at the University of Washington and spent two years in the Air Force in Seattle. He then moved to Los Angeles to make it as an actor, and was signed by Lucille Ball and Desi Arnaz’s Desilu Studios. Ball, who remained a mentor to him up until her death in 1989, encouraged Osborne to pursue writing — “especially after she saw me act,” Osborne would recall.\u003c/p>\n\u003cp>He joined the Hollywood Reporter in 1977 and for years wrote its “Rambling Reporter” column. But he found his home at TCM. To tape his segments, Osborne flew once a month from his New York home to TCM’s Atlanta studio.\u003c/p>\n\u003cp>With Osborne as its ambassador, the cultishly adored TCM developed into a wider-reaching mainstay of movie love, including not just the popular film festival but an annual cruise.\u003c/p>\n\u003cp>“I get stopped on the street all the time,” Osborne once told The New York Times. “People say: ‘You got me through cancer last year. You got me past unemployment. You take me away from my troubles.’ Exactly what movies did in the ’30s and ’40s.”\u003c/p>\n\u003cp>Osborne was an Academy Awards historian, too. He wrote his first history of the Oscars in 1965 (“Academy Awards Illustrated”) and later became its official red-carpet greeter. He wrote several official histories of the Academy Awards, including 2008’s “80 Years of the Oscar.”\u003c/p>\n\u003cp>He was unabashed about his proclivity for ’30s-’50s-era Hollywood. Turner Classic has somewhat expanded beyond that heyday, and in 2003 brought in Ben Mankiewicz as a second host. Mankiewicz on Monday praised Osborne for forging “a profound link to movie lovers, a visceral sense of connection to our history, to our parents and grandparents.”\u003c/p>\n\u003cp>For Osborne, that connection was forged early on, and his affection for Golden Age Hollywood remained forever undimmed.\u003c/p>\n\u003cp>“We don’t seem to want people bigger than life. We want people who look ordinary,” Osborne lamented in 2014. Growing up in a small Washington state town, he said, “there was never anybody who looked like Audrey Hepburn or Lana Turner or Hedy Lamarr …. actresses who were bigger than life.”\u003c/p>\n\u003cp>But Osborne’s genuine passion for a dapper kind of film connoisseurship was unquestioned by the TCM viewers who happily watched him stride into their living room, again and again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If I wasn’t doing it (on TV) I’d be doing it as a hobby,” Osborne said, “so I might as well get paid for it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond",
"headTitle": "‘We Who Work’ Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED",
"content": "\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311005606″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A new exhibition by Hung Liu at the Santa Cruz Museum of Art & History pays tribute to the working class. ",
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"title": "'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311005606″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311005606″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"marketplace": {
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"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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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"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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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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