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"content": "\u003cp>\u003ci>This video is a co-production between KQED and Yerba Buena Center for the Arts, with footage from Heather Smith’s ‘That They,’ inspired by Peter Berlin’s ‘That Man.’\u003c/i>\u003c/p>\n\u003cp>Of all the years to spend talking in a small room about a thing as large and contentious as freedom with 30+ very different people, well… 2016 was a doozy.\u003c/p>\n\u003cp>As the year went on (and on, and on), I found myself thinking about ways that I’d seen freedom erode. I was in Boston during the Boston Marathon bombing, and saw how Homeland Security completely shut down a major city, supposedly to protect us from murderers who weren’t even that good at murdering. It was like being an involuntary extra in an action film, forced into the role of “scared townspeople.” (By the end of 2016, there was already a movie in theaters about the bombing; I assume the extras were paid this time.)\u003c/p>\n\u003cp>So the theater of security is used to constrict freedom. But if a theater of security exists, there’s also a theater of insecurity, and a perfect example is found in the films of Peter Berlin. Berlin made his two greatest films, \u003cem>Nights in Black Leather\u003c/em> and \u003cem>That Boy\u003c/em>, in 1973 and 1974, when the movement for queer rights was still coalescing. At the time, they were not even noteworthy enough to incite the type of backlash that the late ’70s would bring.\u003c/p>\n\u003cp>But Berlin’s films were a sign of things to come: a pornography of freedom even more than a pornography of sex. Freedom may begin with the simple desire to live in a different world, but in practice it’s something that you perform, until, eventually, that’s what you are.\u003c/p>\n\u003cp>[ad fullwidth]\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>Heather Smith is a founding member of the arts collective \u003ca href=\"http://www.shippingandreceiving.org/\" target=\"_blank\" rel=\"noopener\">Shipping + Receiving\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This video is a co-production between KQED and Yerba Buena Center for the Arts, with footage from Heather Smith’s ‘That They,’ inspired by Peter Berlin’s ‘That Man.’\u003c/i>\u003c/p>\n\u003cp>Of all the years to spend talking in a small room about a thing as large and contentious as freedom with 30+ very different people, well… 2016 was a doozy.\u003c/p>\n\u003cp>As the year went on (and on, and on), I found myself thinking about ways that I’d seen freedom erode. I was in Boston during the Boston Marathon bombing, and saw how Homeland Security completely shut down a major city, supposedly to protect us from murderers who weren’t even that good at murdering. It was like being an involuntary extra in an action film, forced into the role of “scared townspeople.” (By the end of 2016, there was already a movie in theaters about the bombing; I assume the extras were paid this time.)\u003c/p>\n\u003cp>So the theater of security is used to constrict freedom. But if a theater of security exists, there’s also a theater of insecurity, and a perfect example is found in the films of Peter Berlin. Berlin made his two greatest films, \u003cem>Nights in Black Leather\u003c/em> and \u003cem>That Boy\u003c/em>, in 1973 and 1974, when the movement for queer rights was still coalescing. At the time, they were not even noteworthy enough to incite the type of backlash that the late ’70s would bring.\u003c/p>\n\u003cp>But Berlin’s films were a sign of things to come: a pornography of freedom even more than a pornography of sex. Freedom may begin with the simple desire to live in a different world, but in practice it’s something that you perform, until, eventually, that’s what you are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Breitbart News editor Milo Yiannopoulos has resigned amid a social media backlash over comments he made that appeared to condone pedophilia.\u003c/p>\n\u003cp>In a news conference Tuesday, Yiannopoulos said his resignation was effective immediately and praised the website as “a significant factor in my success.”\u003c/p>\n\u003cp>[contextly_sidebar id=”PE5TQTVM9Cw6UCuEbnBVJDgzBKXnWzJN”]\u003c/p>\n\u003cp>He also explained his views on sex with minors, insisting that he does not condone statutory rape.\u003c/p>\n\u003cp>“I do not believe any change in the legal age of consent is justifiable or desirable,” Yiannopoulos said. He was referring to \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> in live-streamed interviews more than a year ago in which he said, “We get hung up on this kind of child abuse stuff,” and referenced, “this arbitrary and oppressive idea of consent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I said some things on those Internet live streams that were simply wrong,” he said Tuesday.\u003c/p>\n\u003cp>He also said that he had been sexually abused as a child.\u003c/p>\n\u003cp>Yiannopoulos’ resignation comes one day after he lost both a prominent speaking gig at a conservative meeting and a book deal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/20/516332666/after-underage-sex-comments-milo-yiannopoulos-loses-cpac-invite-book-deal\" target=\"_blank\" rel=\"noopener\">As The Two Way reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“First, Monday afternoon the American Conservative Union rescinded its invitation to the right-wing provocateur — noted for his political posts on the Internet — to speak at its annual Conservative Political Action Conference this upcoming weekend. Then, a few hours later, Simon & Schuster announced that it was canceling the publication of Yiannopoulos’ upcoming book, \u003cem>Dangerous.\u003c/em>\u003c/p>\n\u003cp>“These actions come in the wake of a social media backlash against Yiannopoulos after the conservative news outlet The Reagan Battalion \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">tweeted videos\u003c/a> on Sunday in which Yiannopoulos appears to condone statutory rape and sexual relationships between boys and men.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Yiannopoulos had tried to clarify his comments Monday on Facebook, defending his remarks and referencing his own sexual history while also blaming his own “sloppy phrasing” and “deceptive” video editing.\u003c/p>\n\u003cp>He said Tuesday that other publishers had expressed interest in his book, and that he expected it to be published this year. He also said he was founding an “independently funded media venture” and would be going on a “live tour in the coming weeks,” including appearances on college campuses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/02/02/513105012/berkeley-students-debate-cancellation-of-milo-yiannopoulos-speech\" target=\"_blank\" rel=\"noopener\">Earlier this month\u003c/a>, a Yiannopoulos speaking engagement at the University of California, Berkeley was canceled after students protests turned violent. \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=After+Comments+On+Pedophilia%2C+Breitbart+Editor+Milo+Yiannopoulos+Resigns+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breitbart News editor Milo Yiannopoulos has resigned amid a social media backlash over comments he made that appeared to condone pedophilia.\u003c/p>\n\u003cp>In a news conference Tuesday, Yiannopoulos said his resignation was effective immediately and praised the website as “a significant factor in my success.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He also explained his views on sex with minors, insisting that he does not condone statutory rape.\u003c/p>\n\u003cp>“I do not believe any change in the legal age of consent is justifiable or desirable,” Yiannopoulos said. He was referring to \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> in live-streamed interviews more than a year ago in which he said, “We get hung up on this kind of child abuse stuff,” and referenced, “this arbitrary and oppressive idea of consent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I said some things on those Internet live streams that were simply wrong,” he said Tuesday.\u003c/p>\n\u003cp>He also said that he had been sexually abused as a child.\u003c/p>\n\u003cp>Yiannopoulos’ resignation comes one day after he lost both a prominent speaking gig at a conservative meeting and a book deal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/20/516332666/after-underage-sex-comments-milo-yiannopoulos-loses-cpac-invite-book-deal\" target=\"_blank\" rel=\"noopener\">As The Two Way reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“First, Monday afternoon the American Conservative Union rescinded its invitation to the right-wing provocateur — noted for his political posts on the Internet — to speak at its annual Conservative Political Action Conference this upcoming weekend. Then, a few hours later, Simon & Schuster announced that it was canceling the publication of Yiannopoulos’ upcoming book, \u003cem>Dangerous.\u003c/em>\u003c/p>\n\u003cp>“These actions come in the wake of a social media backlash against Yiannopoulos after the conservative news outlet The Reagan Battalion \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">tweeted videos\u003c/a> on Sunday in which Yiannopoulos appears to condone statutory rape and sexual relationships between boys and men.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Yiannopoulos had tried to clarify his comments Monday on Facebook, defending his remarks and referencing his own sexual history while also blaming his own “sloppy phrasing” and “deceptive” video editing.\u003c/p>\n\u003cp>He said Tuesday that other publishers had expressed interest in his book, and that he expected it to be published this year. He also said he was founding an “independently funded media venture” and would be going on a “live tour in the coming weeks,” including appearances on college campuses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/02/02/513105012/berkeley-students-debate-cancellation-of-milo-yiannopoulos-speech\" target=\"_blank\" rel=\"noopener\">Earlier this month\u003c/a>, a Yiannopoulos speaking engagement at the University of California, Berkeley was canceled after students protests turned violent. \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=After+Comments+On+Pedophilia%2C+Breitbart+Editor+Milo+Yiannopoulos+Resigns+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dorothea Lange Photos Lead Historians to Japanese Camp Survivors",
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"content": "\u003cp>There are nearly 200 photographs in Michael Williams and Richard Cahan’s new book \u003cem>Un-American: The Incarceration of Japanese Americans During World War Two\u003c/em>. But one in particular stands out for Cahan. “The photograph of Rachel, in my opinion, was the most compelling and beautiful photograph in the book,” Cahan says. “Dorothea Lange had this unique ability to get so close to people, even people that were strangers, and look into their eyes.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/308876410″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Lange’s portrait of Rachel Kuruma is startling in its simplicity: The 11-year-old San Francisco schoolkid looks into the camera, smiling quietly, in a cute, floral-print dress. The shock comes at the fact that only days after Lange shot this photo at Raphael Weill Elementary School on April 20, 1942, Kuruma and her family were bundled off to prison camp.\u003c/p>\n\u003ch3>Awakening long-lost memories\u003c/h3>\n\u003cp>Fast forward 75 years, and Kuruma is back at her former school for the very first time since Lange took her picture in 1942. Cahan and Kuruma have become friends since he tracked her down for his book project last year, and we’re there to see if the surroundings might help jog childhood memories for Kuruma. But the school, which is now called Rosa Parks Elementary, has changed almost beyond recognition since she was a student. And the spry, 85-year-old has absolutely no recollection of posing for Lange.\u003c/p>\n\u003cfigure id=\"attachment_12781144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg\" alt=\"Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture in 1942.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture there in 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cahan has brought a copy of Lange’s photo along. Being at the school and looking at the picture gradually brings back distant memories for Kuruma of the three-plus years she spent living in the prison camps at Tanforan, California, and Topaz, Utah as a girl. “The toilets, none of them had doors,” she says. “So you tried to pick one that was facing against the wall, preferably the one in the corner so you have some privacy.”\u003c/p>\n\u003ch3>Executive order 9066\u003c/h3>\n\u003cp>On Feb. 19, 1942, in response to the Japanese attack on Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066. This led to the incarceration of 120,000 Japanese Americans during World War II at prison camps across the western United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=62o1QuAE0Iw\">https://www.youtube.com/watch?v=62o1QuAE0Iw\u003c/a>\u003c/p>\n\u003cp>Roosevelt’s government hired photographers like Lange to show off the camps in their best light. But she and some of the other hired guns ended up exposing what life in the dusty, hastily-built enclaves was really like. As a result, Cahan says, some of her images were locked away during the war. “They were impounded primarily because they gave away ‘military secrets’ — that guards were using machine guns and that there was barbed wire around the camp,” Cahan says.\u003c/p>\n\u003ch3>Tracking down survivors\u003c/h3>\n\u003cp>After the war, the photos ended up in the National Archives in Washington, D.C, where the collection can still be found today. (It’s also available \u003ca href=\"https://www.archives.gov/news/japanese-american-internment\" target=\"_blank\" rel=\"noopener\">online\u003c/a>.) Many more photos from the approx. 7,500-image collection have appeared in publications since the war years. But Cahan and his co-author decided they wanted to go deeper, to truly get people to understand what innocent Japanese Americans went through during the war. So they set about capturing the personal stories of as many of the people in the pictures as they could.\u003c/p>\n\u003cfigure id=\"attachment_12781146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg\" alt=\"Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988.jpg 1986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The book lets you hear the words of the people who were picked up,” Cahan says. “When you see a person 75 years earlier and hear them talk about that very picture and that very day and what happened to them, I think it has great power. I think that there’s an emotional hole that it fills that really has not been filled before.”\u003c/p>\n\u003cp>Cahan says tracking down survivors wasn’t easy. In Kuruma’s case, her name was misspelled in the records — as “Rachael Kurumi” instead of “Rachel Kuruma.” “I had the list of all of the survivors of the camps,” Cahan says. “There was no ‘Rachael’ spelled that way, and there was no ‘Kurumi’ spelled that way.”\u003c/p>\n\u003cfigure id=\"attachment_12781258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg\" alt=\"Rachel Kuruma hung up the phone when Richard Cahan called her for the first time. Now the prison camp survivor and photo journalist are friends.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma hung up the phone when Richard Cahan first called her. Now the prison camp survivor and photojournalist are friends. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A search on the genealogy website \u003ca href=\"https://www.ancestry.com/\" target=\"_blank\" rel=\"noopener\">Ancestry.com\u003c/a> led Cahan to a 1949 yearbook photo of Kuruma as a student at Lowell High School. He did more poking around on Google. Then, one day, he got hold of her phone number. But Kuruma thought the caller was trying to sell her something. “I called her, and she picked up the phone,” Cahan says. “I said ‘My name is Rich Cahan and I’m a…’ and before I had said ‘journalist’ she hung up the phone.”\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>Cahan was persistent. Eventually, he managed to meet Kuruma. She says she rarely thinks or talks about the prison camps, and had no idea the photograph existed until the day Cahan showed it to her. “He’s talking about this picture. I say, what picture?” Kuruma says. “So he brought it over and I looked. It was kind of interesting.”\u003c/p>\n\u003ch3>The past as a catalyst for present-day activism\u003c/h3>\n\u003cp>Some of the people the authors approached weren’t so taken by surprise when Cahan got in touch. Berkeley psychotherapist, filmmaker and activist Satsuki Ina was born in a maximum security prison camp in Tule Lake, California in 1944, after her parents were labeled as dissidents for refusing to swear unqualified allegiance to the United States. She’s studied the National Archives photo collection. The arresting image in Cahan and Williams’ book of a young woman standing in line in San Francisco, waiting to hear news of her fate, is one Ina knows very well.\u003c/p>\n\u003cfigure id=\"attachment_12781329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781329 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg\" alt=\"Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066. \u003ccite>(Photo: Dorothea Lange Courtesy of National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a photo of my mother,” she says, looking at the picture in \u003cem>Un-American\u003c/em>. “She had no idea what this was going to lead to, where they were going to be and for how long. So I see that expression on her face. It captures the confusion and the fear that she wrote about in her diary.”\u003c/p>\n\u003cp>Ina has made a study of her parents’ diaries and letters from the camp. She shows me her mother’s original journals, segments of which she gave Cahan and Williams permission to use in their book. Ina locates the entry dated Friday, Apr. 24, 1942, from right before Lange took that photo of her mother.\u003c/p>\n\u003cp>She reads it aloud, and the reality of this young woman’s predicament, as she waits to receive her marching orders, suddenly feels three-dimensional: “Twelve noon today our evacuation order is effective,” Ina reads. “Every corner of the block has a notice on it. There are so many people that we’ve been waiting almost three hours to get a slip of appointment for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12781334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781334 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg\" alt=\"Satsuki Ina reads her mothers journal at home in Berkeley.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Satsuki Ina reads her mother’s journal at home in Berkeley. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ina has made documentary films based on the diaries and other memorabilia, and is at work on a book. Like others from her community, she sees a worrying link between how the U.S. government treated Japanese Americans during the Second World War and recent calls by the Trump administration for a Muslim registry. “People were hysterical about Japan attacking the U.S.,” she says. “So today of course that resonates with the same kind of mass hysteria that is being rung up about terrorism.”\u003c/p>\n\u003cp>Like Cahan, Ina says she wants to do everything she can to teach people about this irredeemable chapter of American history — to prevent the same horrors from happening again.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Editor’s note: Although the phrase “internment camps” is most commonly used in this country to describe the sites where 120,000 people of Japanese ancestry were incarcerated during the WWII, many members of the Japanese community believe that “internment” is not an accurate descriptor for the camps. Members of the Japanese community believe they were wrongfully imprisoned, and many use the terms “incarceration camps” or “prison camps” to describe the sites where they were detained against their will. We opted to use these terms in lieu of the more common term out of respect for the community.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Rachel Kuruma was 11 when Dorothea Lange took her picture at school in San Francisco, days before being sent to a WWII incarceration camp for Japanese Americans. Seventy-five years later, she returned.",
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"description": "Rachel Kuruma was 11 when Dorothea Lange took her picture at school in San Francisco, days before being sent to a WWII incarceration camp for Japanese Americans. Seventy-five years later, she returned.",
"title": "Dorothea Lange Photos Lead Historians to Japanese Camp Survivors | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are nearly 200 photographs in Michael Williams and Richard Cahan’s new book \u003cem>Un-American: The Incarceration of Japanese Americans During World War Two\u003c/em>. But one in particular stands out for Cahan. “The photograph of Rachel, in my opinion, was the most compelling and beautiful photograph in the book,” Cahan says. “Dorothea Lange had this unique ability to get so close to people, even people that were strangers, and look into their eyes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308876410″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/308876410″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lange’s portrait of Rachel Kuruma is startling in its simplicity: The 11-year-old San Francisco schoolkid looks into the camera, smiling quietly, in a cute, floral-print dress. The shock comes at the fact that only days after Lange shot this photo at Raphael Weill Elementary School on April 20, 1942, Kuruma and her family were bundled off to prison camp.\u003c/p>\n\u003ch3>Awakening long-lost memories\u003c/h3>\n\u003cp>Fast forward 75 years, and Kuruma is back at her former school for the very first time since Lange took her picture in 1942. Cahan and Kuruma have become friends since he tracked her down for his book project last year, and we’re there to see if the surroundings might help jog childhood memories for Kuruma. But the school, which is now called Rosa Parks Elementary, has changed almost beyond recognition since she was a student. And the spry, 85-year-old has absolutely no recollection of posing for Lange.\u003c/p>\n\u003cfigure id=\"attachment_12781144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg\" alt=\"Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture in 1942.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture there in 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cahan has brought a copy of Lange’s photo along. Being at the school and looking at the picture gradually brings back distant memories for Kuruma of the three-plus years she spent living in the prison camps at Tanforan, California, and Topaz, Utah as a girl. “The toilets, none of them had doors,” she says. “So you tried to pick one that was facing against the wall, preferably the one in the corner so you have some privacy.”\u003c/p>\n\u003ch3>Executive order 9066\u003c/h3>\n\u003cp>On Feb. 19, 1942, in response to the Japanese attack on Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066. This led to the incarceration of 120,000 Japanese Americans during World War II at prison camps across the western United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=62o1QuAE0Iw\">https://www.youtube.com/watch?v=62o1QuAE0Iw\u003c/a>\u003c/p>\n\u003cp>Roosevelt’s government hired photographers like Lange to show off the camps in their best light. But she and some of the other hired guns ended up exposing what life in the dusty, hastily-built enclaves was really like. As a result, Cahan says, some of her images were locked away during the war. “They were impounded primarily because they gave away ‘military secrets’ — that guards were using machine guns and that there was barbed wire around the camp,” Cahan says.\u003c/p>\n\u003ch3>Tracking down survivors\u003c/h3>\n\u003cp>After the war, the photos ended up in the National Archives in Washington, D.C, where the collection can still be found today. (It’s also available \u003ca href=\"https://www.archives.gov/news/japanese-american-internment\" target=\"_blank\" rel=\"noopener\">online\u003c/a>.) Many more photos from the approx. 7,500-image collection have appeared in publications since the war years. But Cahan and his co-author decided they wanted to go deeper, to truly get people to understand what innocent Japanese Americans went through during the war. So they set about capturing the personal stories of as many of the people in the pictures as they could.\u003c/p>\n\u003cfigure id=\"attachment_12781146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg\" alt=\"Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988.jpg 1986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The book lets you hear the words of the people who were picked up,” Cahan says. “When you see a person 75 years earlier and hear them talk about that very picture and that very day and what happened to them, I think it has great power. I think that there’s an emotional hole that it fills that really has not been filled before.”\u003c/p>\n\u003cp>Cahan says tracking down survivors wasn’t easy. In Kuruma’s case, her name was misspelled in the records — as “Rachael Kurumi” instead of “Rachel Kuruma.” “I had the list of all of the survivors of the camps,” Cahan says. “There was no ‘Rachael’ spelled that way, and there was no ‘Kurumi’ spelled that way.”\u003c/p>\n\u003cfigure id=\"attachment_12781258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg\" alt=\"Rachel Kuruma hung up the phone when Richard Cahan called her for the first time. Now the prison camp survivor and photo journalist are friends.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma hung up the phone when Richard Cahan first called her. Now the prison camp survivor and photojournalist are friends. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A search on the genealogy website \u003ca href=\"https://www.ancestry.com/\" target=\"_blank\" rel=\"noopener\">Ancestry.com\u003c/a> led Cahan to a 1949 yearbook photo of Kuruma as a student at Lowell High School. He did more poking around on Google. Then, one day, he got hold of her phone number. But Kuruma thought the caller was trying to sell her something. “I called her, and she picked up the phone,” Cahan says. “I said ‘My name is Rich Cahan and I’m a…’ and before I had said ‘journalist’ she hung up the phone.”\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>Cahan was persistent. Eventually, he managed to meet Kuruma. She says she rarely thinks or talks about the prison camps, and had no idea the photograph existed until the day Cahan showed it to her. “He’s talking about this picture. I say, what picture?” Kuruma says. “So he brought it over and I looked. It was kind of interesting.”\u003c/p>\n\u003ch3>The past as a catalyst for present-day activism\u003c/h3>\n\u003cp>Some of the people the authors approached weren’t so taken by surprise when Cahan got in touch. Berkeley psychotherapist, filmmaker and activist Satsuki Ina was born in a maximum security prison camp in Tule Lake, California in 1944, after her parents were labeled as dissidents for refusing to swear unqualified allegiance to the United States. She’s studied the National Archives photo collection. The arresting image in Cahan and Williams’ book of a young woman standing in line in San Francisco, waiting to hear news of her fate, is one Ina knows very well.\u003c/p>\n\u003cfigure id=\"attachment_12781329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781329 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg\" alt=\"Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066. \u003ccite>(Photo: Dorothea Lange Courtesy of National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a photo of my mother,” she says, looking at the picture in \u003cem>Un-American\u003c/em>. “She had no idea what this was going to lead to, where they were going to be and for how long. So I see that expression on her face. It captures the confusion and the fear that she wrote about in her diary.”\u003c/p>\n\u003cp>Ina has made a study of her parents’ diaries and letters from the camp. She shows me her mother’s original journals, segments of which she gave Cahan and Williams permission to use in their book. Ina locates the entry dated Friday, Apr. 24, 1942, from right before Lange took that photo of her mother.\u003c/p>\n\u003cp>She reads it aloud, and the reality of this young woman’s predicament, as she waits to receive her marching orders, suddenly feels three-dimensional: “Twelve noon today our evacuation order is effective,” Ina reads. “Every corner of the block has a notice on it. There are so many people that we’ve been waiting almost three hours to get a slip of appointment for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12781334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781334 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg\" alt=\"Satsuki Ina reads her mothers journal at home in Berkeley.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Satsuki Ina reads her mother’s journal at home in Berkeley. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ina has made documentary films based on the diaries and other memorabilia, and is at work on a book. Like others from her community, she sees a worrying link between how the U.S. government treated Japanese Americans during the Second World War and recent calls by the Trump administration for a Muslim registry. “People were hysterical about Japan attacking the U.S.,” she says. “So today of course that resonates with the same kind of mass hysteria that is being rung up about terrorism.”\u003c/p>\n\u003cp>Like Cahan, Ina says she wants to do everything she can to teach people about this irredeemable chapter of American history — to prevent the same horrors from happening again.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor’s note: Although the phrase “internment camps” is most commonly used in this country to describe the sites where 120,000 people of Japanese ancestry were incarcerated during the WWII, many members of the Japanese community believe that “internment” is not an accurate descriptor for the camps. Members of the Japanese community believe they were wrongfully imprisoned, and many use the terms “incarceration camps” or “prison camps” to describe the sites where they were detained against their will. We opted to use these terms in lieu of the more common term out of respect for the community.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "northern-california-high-school-bands-jazzed-for-new-york-competition",
"title": "Northern California High School Bands Jazzed for New York Competition",
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"content": "\u003cp>Three Bay Area high school bands are headed to New York this weekend for the highly competitive \u003ca href=\"http://mingusmingusmingus.com/jazz-education\" target=\"_blank\" rel=\"noopener\">Charles Mingus High School Competition\u003c/a>, named for the celebrated jazz bassist and composer.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bhsjazz.org/\" target=\"_blank\" rel=\"noopener\">Berkeley High School Jazz Combo\u003c/a>, Sacramento’s \u003ca href=\"http://rioband.net/\" target=\"_blank\" rel=\"noopener\">Rio Americano High School Jazz Combo\u003c/a>, and the \u003ca href=\"https://sfjazz.org/education/hsas\" target=\"_blank\" rel=\"noopener\">SFJAZZ High School All-Stars Big Band and Combo\u003c/a> are competing against nine other groups from around the country.\u003c/p>\n\u003cfigure id=\"attachment_12780937\" class=\"wp-caption alignright\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12780937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg\" alt=\"Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars\" width=\"569\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-240x261.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-520x565.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars \u003ccite>(Photo: Courtesy of SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime you go to New York is exciting,” said Erin Putnam, the ensemble manager for the SFJAZZ Big Band and Combo. “But the Mingus competition is different from some other festivals, where you get points for how perfect you are. At Mingus, you get points for how big you go.”\u003c/p>\n\u003cp>Mingus was known for his genius as a bandleader, and for often losing his temper. He died in 1979 at the age of 56, but his widow Sue Mingus has carried on his work through a nonprofit, which sponsors the high school competition.\u003c/p>\n\u003cp>“I just really connect with Mingus,” said Glynnis McNamara, a 17-year-old baritone saxophone player and senior at Middle College, a high school program at the College of San Mateo. “Because it captures the moment of spontaneity — of being in the moment of something passionate.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All the bands will play Mingus songs, and the best of the soloists will get a chance to sit in with the Mingus Big Band at a New York jazz club Sunday night.\u003c/p>\n\u003cp>https://youtu.be/QT2-iobVcdw?t=20s\u003c/p>\n\u003cp>“The music is uncompromising and not meant to be commercial in any way,” said Sarah Cline, who directs the jazz program at Berkeley High School. “Charles Mingus’s work is especially important today, because it is in its essence protest music. His tunes like ‘Fables of Faubus,’ about the ridiculousness of the racism of Arkansas Governor Orval Faubus in opposition to school desegregation by the Little Rock 9, teach us what it means to resist, to protest, and to speak truth through art.”\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>Three Bay Area high school bands are headed to New York this weekend for the highly competitive \u003ca href=\"http://mingusmingusmingus.com/jazz-education\" target=\"_blank\" rel=\"noopener\">Charles Mingus High School Competition\u003c/a>, named for the celebrated jazz bassist and composer.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bhsjazz.org/\" target=\"_blank\" rel=\"noopener\">Berkeley High School Jazz Combo\u003c/a>, Sacramento’s \u003ca href=\"http://rioband.net/\" target=\"_blank\" rel=\"noopener\">Rio Americano High School Jazz Combo\u003c/a>, and the \u003ca href=\"https://sfjazz.org/education/hsas\" target=\"_blank\" rel=\"noopener\">SFJAZZ High School All-Stars Big Band and Combo\u003c/a> are competing against nine other groups from around the country.\u003c/p>\n\u003cfigure id=\"attachment_12780937\" class=\"wp-caption alignright\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12780937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg\" alt=\"Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars\" width=\"569\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-240x261.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-520x565.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars \u003ccite>(Photo: Courtesy of SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime you go to New York is exciting,” said Erin Putnam, the ensemble manager for the SFJAZZ Big Band and Combo. “But the Mingus competition is different from some other festivals, where you get points for how perfect you are. At Mingus, you get points for how big you go.”\u003c/p>\n\u003cp>Mingus was known for his genius as a bandleader, and for often losing his temper. He died in 1979 at the age of 56, but his widow Sue Mingus has carried on his work through a nonprofit, which sponsors the high school competition.\u003c/p>\n\u003cp>“I just really connect with Mingus,” said Glynnis McNamara, a 17-year-old baritone saxophone player and senior at Middle College, a high school program at the College of San Mateo. “Because it captures the moment of spontaneity — of being in the moment of something passionate.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All the bands will play Mingus songs, and the best of the soloists will get a chance to sit in with the Mingus Big Band at a New York jazz club Sunday night.\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/QT2-iobVcdw'\n title='//www.youtube.com/embed/QT2-iobVcdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The music is uncompromising and not meant to be commercial in any way,” said Sarah Cline, who directs the jazz program at Berkeley High School. “Charles Mingus’s work is especially important today, because it is in its essence protest music. His tunes like ‘Fables of Faubus,’ about the ridiculousness of the racism of Arkansas Governor Orval Faubus in opposition to school desegregation by the Little Rock 9, teach us what it means to resist, to protest, and to speak truth through art.”\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Aging rockers from Jefferson Starship led a protest on the steps of City Hall to send a message to San Francisco officials: We built this city on free rock and roll.\u003c/p>\n\u003cp>Thursday’s protest and a hearing inside City Hall that followed marked the latest twist in a battle with the city to hold a free concert in Golden Gate Park for the 50th anniversary of the Summer of Love.\u003c/p>\n\u003cp>The June 4 show might still go on but it hit another major bureaucratic hurdle.\u003c/p>\n\u003cp>San Francisco’s Recreation and Park Commission ruled after a nearly 3-hour public hearing to uphold the Feb. 7 decision of its permit department to deny a permit for the concert. The department says its denial was issued because the concert promoter had made “numerous misrepresentations” about security and crowd control, leaving officials concerned about public safety.\u003c/p>\n\u003cp>However, the commission told promoters at the hearing that they can resubmit an application to address the department’s concerns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Promoter Boots Hughston said he will “definitely resubmit” the application and still hopes the event can take place.\u003c/p>\n\u003cp>“My advice to Boots,” said his lawyer Ken Wine, “is to take the show to Oakland. Because the heart of San Francisco just got crushed today.”\u003c/p>\n\u003cp>The “Summer of Love 50th Anniversary” concert was to be a focal point of citywide cultural events to mark the 1960s counterculture movement that was centered in San Francisco.\u003c/p>\n\u003cp>Hughston said he’d already lined up about two dozen performers for the event at Golden Gate Park’s Polo Field including the remnants of Jefferson Airplane and its off-shoot Jefferson Starship, Big Brother and the Holding Company which was fronted by Janis Joplin and the Santana Blues Band.\u003c/p>\n\u003cp>“The best thing we ever did was to play for free in the park. How can you celebrate the Summer of Love without that? It’s impossible” said David Freiberg, a vocalist and bassist with Airplane and Starship. “I see no reason why we can’t work this out.”\u003c/p>\n\u003cp>Freiberg was joined on the steps of City Hall by drummer Donny Baldwin and other graying rockers, dressed in all black, and dozens of other self-declared former hippies. Many made passionate pleas for the permit at the public hearing, telling the commissioners this might be the last big Summer of Love celebration for their generation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The worst thing that might happen is a bunch of senior citizens get stoned on pot,” said Trinna Robbins, who described herself as a veteran of the 1960s. “We need this concert. We need it. I know we can all work this out together. We have to.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aging rockers from Jefferson Starship led a protest on the steps of City Hall to send a message to San Francisco officials: We built this city on free rock and roll.\u003c/p>\n\u003cp>Thursday’s protest and a hearing inside City Hall that followed marked the latest twist in a battle with the city to hold a free concert in Golden Gate Park for the 50th anniversary of the Summer of Love.\u003c/p>\n\u003cp>The June 4 show might still go on but it hit another major bureaucratic hurdle.\u003c/p>\n\u003cp>San Francisco’s Recreation and Park Commission ruled after a nearly 3-hour public hearing to uphold the Feb. 7 decision of its permit department to deny a permit for the concert. The department says its denial was issued because the concert promoter had made “numerous misrepresentations” about security and crowd control, leaving officials concerned about public safety.\u003c/p>\n\u003cp>However, the commission told promoters at the hearing that they can resubmit an application to address the department’s concerns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Promoter Boots Hughston said he will “definitely resubmit” the application and still hopes the event can take place.\u003c/p>\n\u003cp>“My advice to Boots,” said his lawyer Ken Wine, “is to take the show to Oakland. Because the heart of San Francisco just got crushed today.”\u003c/p>\n\u003cp>The “Summer of Love 50th Anniversary” concert was to be a focal point of citywide cultural events to mark the 1960s counterculture movement that was centered in San Francisco.\u003c/p>\n\u003cp>Hughston said he’d already lined up about two dozen performers for the event at Golden Gate Park’s Polo Field including the remnants of Jefferson Airplane and its off-shoot Jefferson Starship, Big Brother and the Holding Company which was fronted by Janis Joplin and the Santana Blues Band.\u003c/p>\n\u003cp>“The best thing we ever did was to play for free in the park. How can you celebrate the Summer of Love without that? It’s impossible” said David Freiberg, a vocalist and bassist with Airplane and Starship. “I see no reason why we can’t work this out.”\u003c/p>\n\u003cp>Freiberg was joined on the steps of City Hall by drummer Donny Baldwin and other graying rockers, dressed in all black, and dozens of other self-declared former hippies. Many made passionate pleas for the permit at the public hearing, telling the commissioners this might be the last big Summer of Love celebration for their generation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The worst thing that might happen is a bunch of senior citizens get stoned on pot,” said Trinna Robbins, who described herself as a veteran of the 1960s. “We need this concert. We need it. I know we can all work this out together. We have to.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-frankenstein-ballet-noise-pop-and-shack-shakers",
"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/308119957″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ta8GWrxUX34\u003c/p>\n\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ZJJsvlrDqg\u003c/p>\n\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrxM-jPOFQo\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bn15IvVrprw\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYLHKpAl1vs\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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"excerpt": "Annie Baker's 'John' at A.C.T., Rachel Efron and Ira Marlowe's 'Gods & Monsters' in Berkeley, 'Frankenstein' at SF Ballet and more round out this week's recommendations.",
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"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308119957″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/308119957″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ta8GWrxUX34'\n title='//www.youtube.com/embed/ta8GWrxUX34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details 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/5ZJJsvlrDqg'\n title='//www.youtube.com/embed/5ZJJsvlrDqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\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/vrxM-jPOFQo'\n title='//www.youtube.com/embed/vrxM-jPOFQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bn15IvVrprw'\n title='//www.youtube.com/embed/bn15IvVrprw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kYLHKpAl1vs'\n title='//www.youtube.com/embed/kYLHKpAl1vs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>The longtime producer of the Grammy Awards is offering apologies to Metallica and Shirley Caesar after a technical glitch and a misprint marred their inclusion on the show.\u003c/p>\n\u003cp>The mic for Metallica’s James Hetfield wasn’t initially working when the band took the stage to perform with Lady Gaga, and Caesar, a lifetime achievement award honoree, was misidentified during the televised ceremony when a photo of another gospel star, CeCe Winans, was shown instead of her during a montage clip.\u003c/p>\n\u003cp>“These kinds of things are horrible when they happen,” Ken Ehrlich said in an interview with The Associated Press on Wednesday. “That’s one of the risks of live television.”\u003c/p>\n\u003cp>The Metallica glitch, for which the band has blamed a dead microphone, resulted in Hetfield making a decision to improvise and use Lady Gaga’s mic.\u003c/p>\n\u003cp>Ehrlich has heard a different story from his crew about the problem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My guys say that the mic cable was connected,” he said. “My guys’ theory was that … one of the extras (on stage) accidentally kicked out the cable that went to the mic.”\u003c/p>\n\u003cp>Still, the end result was Hetfield’s singing couldn’t be heard for the first part of the performance.\u003c/p>\n\u003cp>“Obviously, we apologize to the band,” Ehrlich said, calling the mishap “awful.”\u003c/p>\n\u003cp>He added that he’s worked with Metallica for years, so to see that happen was personally upsetting to him: “You hurt.”\u003c/p>\n\u003cp>In the case of Caesar, the gospel legend, Ehrlich had a better understanding of what happened. When preparing for a clip to run of her for the show, footage of a classic Caesar, Winans and Whitney Houston performance was used, and Winans was mistakenly shown.\u003c/p>\n\u003cp>Ehrlich said he usually checks such footage but didn’t get a chance to this year, since he was busy with the show and the Recording Academy’s tribute to the Bee Gees, which taped in Los Angeles on Tuesday and will air at a later date.\u003c/p>\n\u003cp>“We obviously want to apologize to Shirley Caesar,” he said. “It’s unfortunate that happened.”\u003c/p>\n\u003cp>Caeser released a statement Wednesday thanking Ehrlich for the apology and added, “these things happen sometimes.”\u003c/p>\n\u003cp>Ehrlich was also frustrated that the mistakes have overshadowed some of the great performances that occurred on the show, including Beyonce, Bruno Mars and Adele, who had her own hiccup when she restarted her tribute to George Michael.\u003c/p>\n\u003cp>“When you do a three-and-a-half hour live show, it’s fraught with danger,” he said. “It was an adventurous show in many ways.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ehrlich has produced the Grammys for years and has also produced other events, including the Emmy Awards.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The longtime producer of the Grammy Awards is offering apologies to Metallica and Shirley Caesar after a technical glitch and a misprint marred their inclusion on the show.\u003c/p>\n\u003cp>The mic for Metallica’s James Hetfield wasn’t initially working when the band took the stage to perform with Lady Gaga, and Caesar, a lifetime achievement award honoree, was misidentified during the televised ceremony when a photo of another gospel star, CeCe Winans, was shown instead of her during a montage clip.\u003c/p>\n\u003cp>“These kinds of things are horrible when they happen,” Ken Ehrlich said in an interview with The Associated Press on Wednesday. “That’s one of the risks of live television.”\u003c/p>\n\u003cp>The Metallica glitch, for which the band has blamed a dead microphone, resulted in Hetfield making a decision to improvise and use Lady Gaga’s mic.\u003c/p>\n\u003cp>Ehrlich has heard a different story from his crew about the problem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My guys say that the mic cable was connected,” he said. “My guys’ theory was that … one of the extras (on stage) accidentally kicked out the cable that went to the mic.”\u003c/p>\n\u003cp>Still, the end result was Hetfield’s singing couldn’t be heard for the first part of the performance.\u003c/p>\n\u003cp>“Obviously, we apologize to the band,” Ehrlich said, calling the mishap “awful.”\u003c/p>\n\u003cp>He added that he’s worked with Metallica for years, so to see that happen was personally upsetting to him: “You hurt.”\u003c/p>\n\u003cp>In the case of Caesar, the gospel legend, Ehrlich had a better understanding of what happened. When preparing for a clip to run of her for the show, footage of a classic Caesar, Winans and Whitney Houston performance was used, and Winans was mistakenly shown.\u003c/p>\n\u003cp>Ehrlich said he usually checks such footage but didn’t get a chance to this year, since he was busy with the show and the Recording Academy’s tribute to the Bee Gees, which taped in Los Angeles on Tuesday and will air at a later date.\u003c/p>\n\u003cp>“We obviously want to apologize to Shirley Caesar,” he said. “It’s unfortunate that happened.”\u003c/p>\n\u003cp>Caeser released a statement Wednesday thanking Ehrlich for the apology and added, “these things happen sometimes.”\u003c/p>\n\u003cp>Ehrlich was also frustrated that the mistakes have overshadowed some of the great performances that occurred on the show, including Beyonce, Bruno Mars and Adele, who had her own hiccup when she restarted her tribute to George Michael.\u003c/p>\n\u003cp>“When you do a three-and-a-half hour live show, it’s fraught with danger,” he said. “It was an adventurous show in many ways.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ehrlich has produced the Grammys for years and has also produced other events, including the Emmy Awards.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following the introduction of \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\" target=\"_blank\" rel=\"noopener\">two bills into the state Legislature\u003c/a> that would legally prohibit transgender Texans from using bathrooms that align with their gender identities, 142 artists — including Ewan McGregor, Amy Poehler, Lady Gaga, Janelle Monae, Talib Kweli, Wilco and Whoopi Goldberg — have co-signed \u003ca href=\"https://www.txtogether.org/\">a letter beseeching\u003c/a> the state senators and representatives to prevent the bills’ passage.\u003c/p>\n\u003cp>“Transgender and gender non-conforming young people are already subjected to bullying and harassment,” the letter reads. “Can you imagine the message these bills send to children — the message of ‘that child is unwelcome, that child is dangerous?’ ”\u003c/p>\n\u003cp>In \u003ca href=\"http://www.billboard.com/articles/news/politics/7693257/jack-antonoff-texas-anti-lgbtq-bills-interview\">an interview\u003c/a> with \u003cem>Billboard,\u003c/em> producer and musician Jack Antonoff, who helped draft the letter, said that he wants the state “to know that me and all of my friends — all of these wonderful artists and actors and writers and designers — are watching Texas and are not OK with this happening.”\u003c/p>\n\u003cp>Texas Lt. Gov. Dan Patrick has made the legislation a priority. In a note on the initiatives, he wrote that: “Legislation to protect women’s privacy and business is essential to assure that sexual predators … will not be able to freely enter women’s restrooms, locker rooms or showers. … ”\u003c/p>\n\u003cp>Texas House Speaker Joe Straus voiced concern over the bill’s economic impact on the state in \u003ca href=\"http://www.texasmonthly.com/burka-blog/straus-says-bathroom-bill-might-harm-economy/\">an interview with Texas Monthly\u003c/a> in mid-January, saying the state “should be very careful about doing something that would make Texas less competitive for investments, jobs, and the highly skilled workforce needed to compete.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similar legislation in North Carolina has cost that state $600 million in its first six months, according to an estimate \u003ca href=\"http://www.forbes.com/sites/corinnejurney/2016/11/03/north-carolinas-bathroom-bill-flushes-away-750-million-in-lost-business/#4474a2f8405c\">by Forbes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"http://www.keeptxopen.org/wp-content/uploads/2016/12/KTOB-Economic-Study.pdf\">study\u003c/a> released in early December 2016 by the Texas Business Association claimed the legislation, as well proposed limitations on nondiscrimination by businesses based on religious objections, if passed, could subtract between $964 million and $8.5 billion from the state’s gross domestic product and up to 185,000 jobs, as well as “alienate large, globally recognized businesses” including Apple, Google and the NFL. \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=Lady+Gaga%2C+Jack+Antonoff+Among+142+Artists+Opposing+Texas+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following the introduction of \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\" target=\"_blank\" rel=\"noopener\">two bills into the state Legislature\u003c/a> that would legally prohibit transgender Texans from using bathrooms that align with their gender identities, 142 artists — including Ewan McGregor, Amy Poehler, Lady Gaga, Janelle Monae, Talib Kweli, Wilco and Whoopi Goldberg — have co-signed \u003ca href=\"https://www.txtogether.org/\">a letter beseeching\u003c/a> the state senators and representatives to prevent the bills’ passage.\u003c/p>\n\u003cp>“Transgender and gender non-conforming young people are already subjected to bullying and harassment,” the letter reads. “Can you imagine the message these bills send to children — the message of ‘that child is unwelcome, that child is dangerous?’ ”\u003c/p>\n\u003cp>In \u003ca href=\"http://www.billboard.com/articles/news/politics/7693257/jack-antonoff-texas-anti-lgbtq-bills-interview\">an interview\u003c/a> with \u003cem>Billboard,\u003c/em> producer and musician Jack Antonoff, who helped draft the letter, said that he wants the state “to know that me and all of my friends — all of these wonderful artists and actors and writers and designers — are watching Texas and are not OK with this happening.”\u003c/p>\n\u003cp>Texas Lt. Gov. Dan Patrick has made the legislation a priority. In a note on the initiatives, he wrote that: “Legislation to protect women’s privacy and business is essential to assure that sexual predators … will not be able to freely enter women’s restrooms, locker rooms or showers. … ”\u003c/p>\n\u003cp>Texas House Speaker Joe Straus voiced concern over the bill’s economic impact on the state in \u003ca href=\"http://www.texasmonthly.com/burka-blog/straus-says-bathroom-bill-might-harm-economy/\">an interview with Texas Monthly\u003c/a> in mid-January, saying the state “should be very careful about doing something that would make Texas less competitive for investments, jobs, and the highly skilled workforce needed to compete.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similar legislation in North Carolina has cost that state $600 million in its first six months, according to an estimate \u003ca href=\"http://www.forbes.com/sites/corinnejurney/2016/11/03/north-carolinas-bathroom-bill-flushes-away-750-million-in-lost-business/#4474a2f8405c\">by Forbes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"http://www.keeptxopen.org/wp-content/uploads/2016/12/KTOB-Economic-Study.pdf\">study\u003c/a> released in early December 2016 by the Texas Business Association claimed the legislation, as well proposed limitations on nondiscrimination by businesses based on religious objections, if passed, could subtract between $964 million and $8.5 billion from the state’s gross domestic product and up to 185,000 jobs, as well as “alienate large, globally recognized businesses” including Apple, Google and the NFL. \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=Lady+Gaga%2C+Jack+Antonoff+Among+142+Artists+Opposing+Texas+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Noted aviator and actor Harrison Ford flew his private plane over a jet airliner on the ground at a Southern California airport Monday. It's not the first time the \u003cem>Star Wars\u003c/em> and \u003cem>Indiana Jones\u003c/em> star has had problems landing.\u003c/p>\n\u003cp>The 74-year-old Ford was instructed to land on a runway at Orange County's John Wayne Airport but mistakenly landed on a parallel taxiway, passing over a Boeing 737 carrying 110 passengers and six crew members.\u003c/p>\n\u003cp>On a recording, Ford asked air traffic controllers, \"Was that airliner meant to be underneath me?\" \u003ca href=\"http://www.nbcnews.com/nightly-news/harrison-ford-has-incident-passenger-plane-airport-n720826\">according to NBC News\u003c/a>, which first reported the incident.\u003c/p>\n\u003cp>Federal Aviation Administration spokesman Ian Gregor said the pilot heard and read back the correct landing instructions, according to the Associated Press. Gregor did not confirm it was Ford who was piloting the plane, a single-engine Aviat Husky. The AP reports that he didn't say how close Ford's plane came to hitting the jet on the ground.\u003c/p>\n\u003cp>No one was injured and the jet, American Airlines Flight 1456, took off for Dallas shortly after without incident.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FAA is now investigating, which \"could result in a simple warning letter to a suspension of Ford's pilot's license,\" NBC reports.\u003c/p>\n\u003cp>Ford collects vintage planes and has been flying for decades. According to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/05/391074873/reports-actor-harrison-ford-crash-lands-small-vintage-plane\">NPR's Russell Lewis\u003c/a>, Ford is \"a highly skilled and highly rated pilot. He's qualified to fly single and twin-engine planes, sea planes, helicopters and he's also an instrument-rated pilot.\" In 2015, Ford said he owned \"eight or nine various types of airplanes,\" according to NTSB documents posted on \u003ca href=\"http://www.airsafe.com/events/reports/ford-recruit-2015-pilot-interview.pdf\">AirSafe.com\u003c/a>.\u003c/p>\n\u003cp>Ford reported on a medical certificate application that he had logged at least 5,200 flight hours, \u003ca href=\"https://app.ntsb.gov/pdfgenerator/ReportGeneratorFile.ashx?EventID=20150305X93207&AKey=1&RType=Final&IType=FA\">according to the NTSB\u003c/a>.\u003c/p>\n\u003cp>He was a 2008 honoree and received the \u003ca href=\"http://www.livinglegendsofaviation.org/pages/honorees\">Legends Aviation Legacy Award\u003c/a> from Kiddie Hawk Air Academy, and subsequently had an award named after him.\u003c/p>\n\u003cp>Ford was seriously injured in March 2015 when he crash-landed a restored World War II-era trainer plane on a golf course near the Santa Monica Airport shortly after takeoff. A National Transportation Safety Board report found the crash was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/06/430073622/ntsb-harrison-ford-plane-crash-caused-by-loose-engine-part\">caused by a loose engine part\u003c/a>.\u003c/p>\n\u003cp>In 2000, Ford's plane \"departed\" a runway in Lincoln, Nebraska, because of a gust of wind, according to AirSafe.com. He was flying a Beechcraft Bonanza that \"sustained minor damage,\" though Ford and his passenger were not injured.\u003c/p>\n\u003cp>And in 1999 he crash-landed a helicopter during a training flight in Ventura County, near Los Angeles, according to the AP. \"Although the helicopter rolled over on its left side, neither Ford or the instructor were injured,\" AirSafe.com notes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2017 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noted aviator and actor Harrison Ford flew his private plane over a jet airliner on the ground at a Southern California airport Monday. It's not the first time the \u003cem>Star Wars\u003c/em> and \u003cem>Indiana Jones\u003c/em> star has had problems landing.\u003c/p>\n\u003cp>The 74-year-old Ford was instructed to land on a runway at Orange County's John Wayne Airport but mistakenly landed on a parallel taxiway, passing over a Boeing 737 carrying 110 passengers and six crew members.\u003c/p>\n\u003cp>On a recording, Ford asked air traffic controllers, \"Was that airliner meant to be underneath me?\" \u003ca href=\"http://www.nbcnews.com/nightly-news/harrison-ford-has-incident-passenger-plane-airport-n720826\">according to NBC News\u003c/a>, which first reported the incident.\u003c/p>\n\u003cp>Federal Aviation Administration spokesman Ian Gregor said the pilot heard and read back the correct landing instructions, according to the Associated Press. Gregor did not confirm it was Ford who was piloting the plane, a single-engine Aviat Husky. The AP reports that he didn't say how close Ford's plane came to hitting the jet on the ground.\u003c/p>\n\u003cp>No one was injured and the jet, American Airlines Flight 1456, took off for Dallas shortly after without incident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FAA is now investigating, which \"could result in a simple warning letter to a suspension of Ford's pilot's license,\" NBC reports.\u003c/p>\n\u003cp>Ford collects vintage planes and has been flying for decades. According to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/05/391074873/reports-actor-harrison-ford-crash-lands-small-vintage-plane\">NPR's Russell Lewis\u003c/a>, Ford is \"a highly skilled and highly rated pilot. He's qualified to fly single and twin-engine planes, sea planes, helicopters and he's also an instrument-rated pilot.\" In 2015, Ford said he owned \"eight or nine various types of airplanes,\" according to NTSB documents posted on \u003ca href=\"http://www.airsafe.com/events/reports/ford-recruit-2015-pilot-interview.pdf\">AirSafe.com\u003c/a>.\u003c/p>\n\u003cp>Ford reported on a medical certificate application that he had logged at least 5,200 flight hours, \u003ca href=\"https://app.ntsb.gov/pdfgenerator/ReportGeneratorFile.ashx?EventID=20150305X93207&AKey=1&RType=Final&IType=FA\">according to the NTSB\u003c/a>.\u003c/p>\n\u003cp>He was a 2008 honoree and received the \u003ca href=\"http://www.livinglegendsofaviation.org/pages/honorees\">Legends Aviation Legacy Award\u003c/a> from Kiddie Hawk Air Academy, and subsequently had an award named after him.\u003c/p>\n\u003cp>Ford was seriously injured in March 2015 when he crash-landed a restored World War II-era trainer plane on a golf course near the Santa Monica Airport shortly after takeoff. A National Transportation Safety Board report found the crash was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/06/430073622/ntsb-harrison-ford-plane-crash-caused-by-loose-engine-part\">caused by a loose engine part\u003c/a>.\u003c/p>\n\u003cp>In 2000, Ford's plane \"departed\" a runway in Lincoln, Nebraska, because of a gust of wind, according to AirSafe.com. He was flying a Beechcraft Bonanza that \"sustained minor damage,\" though Ford and his passenger were not injured.\u003c/p>\n\u003cp>And in 1999 he crash-landed a helicopter during a training flight in Ventura County, near Los Angeles, according to the AP. \"Although the helicopter rolled over on its left side, neither Ford or the instructor were injured,\" AirSafe.com notes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2017 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When cyclists from around the country participate in the four-day \u003ca href=\"http://www.climateride.org/events/death-valley-ride\" target=\"_blank\" rel=\"noopener\">Climate Ride\u003c/a> in Death Valley next week to raise awareness of and support for environmental organizations, Paul Freedman is certain to turn heads riding atop his “Boolander.”\u003c/p>\n\u003cp>That’s the name the 39-year-old, San Francisco-based artist, bicycle maker and activist has given to the fantastical-looking, bamboo-framed tandem he custom-built to make a point about the environmental benefits of using sustainable materials and pedal power.\u003c/p>\n\u003cp>“To sit up high, riding on a goofy tall bike, I’m a reminder, not everyone has to ride in a car — things can be different,” Freedman says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12767122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg\" alt=\"ARTS_CUSTOMEBIKES_BUG\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unlike most tandem bikes where riders sit front and back, Freedman’s design allows for a rider on top and another below, like on a double-decker bus. The Boolander also has optional swing-out landers or roots that stabilize the rig when mounting, dismounting, starting, and stopping.\u003c/p>\n\u003cp>Freedman has never owned a car. The Massachusetts-native moved to the Bay Area in 2000 for a job in tech, but quickly fell into the Bay Area bike community. In 2003, Freedman founded \u003ca href=\"http://rockthebike.com/store/\" target=\"_blank\" rel=\"noopener\">Rock the Bike\u003c/a>, an Oakland-based non-profit that provides pedal-power bikes and generators for public events. Two of Rock the Bike’s generators were used at the main protest camp at Standing Rock last fall.\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>Freedman is also passionate about custom art bikes. His first creation, a tree-shaped bike named “El Arbor,” has become a fixture at many environment-themed events.\u003c/p>\n\u003cp>Facing the culture of climate denial coming from President Trump’s White House, Freedman hopes the Boolander will play a small role in helping to sustain and grow participation in the climate movement.\u003c/p>\n\u003cp>In December, he brought the Boolander to a “Stand Up for Science” rally organized by the grassroots climate change advocacy organization \u003ca href=\"https://350.org/\" target=\"_blank\" rel=\"noopener\">350.org\u003c/a>, where attendees lined up for a chance to go for a ride. “The important part of a rally are a lot of people showing up,” Freedman says. “But having things to do and see to make it fun can motivate people to go to the next one.”\u003c/p>\n\u003cp>The 200-mile Climate Ride, which begins on Saturday, Feb. 25, is going to be a test of the Boolander’s mettle: Freedman (who says he’ll be riding solo this time) will ascend from below sea level to more than 5,000-feet in elevation on the bike. And he plans to \u003ca href=\"http://TinyURL.com/hm4yehc\" target=\"_blank\" rel=\"noopener\">raise money\u003c/a> while he’s at it, splitting the donations he raises between Bike East Bay, 350.org, and the \u003ca href=\"http://www.climatedisobedience.org/\" target=\"_blank\" rel=\"noopener\">Climate Disobedience Center\u003c/a>.\u003c/p>\n\u003cp>\u003cem>— Video by Isara Krieger, Text by Kelly Whalen \u003c/em>\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>\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>When cyclists from around the country participate in the four-day \u003ca href=\"http://www.climateride.org/events/death-valley-ride\" target=\"_blank\" rel=\"noopener\">Climate Ride\u003c/a> in Death Valley next week to raise awareness of and support for environmental organizations, Paul Freedman is certain to turn heads riding atop his “Boolander.”\u003c/p>\n\u003cp>That’s the name the 39-year-old, San Francisco-based artist, bicycle maker and activist has given to the fantastical-looking, bamboo-framed tandem he custom-built to make a point about the environmental benefits of using sustainable materials and pedal power.\u003c/p>\n\u003cp>“To sit up high, riding on a goofy tall bike, I’m a reminder, not everyone has to ride in a car — things can be different,” Freedman says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12767122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg\" alt=\"ARTS_CUSTOMEBIKES_BUG\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unlike most tandem bikes where riders sit front and back, Freedman’s design allows for a rider on top and another below, like on a double-decker bus. The Boolander also has optional swing-out landers or roots that stabilize the rig when mounting, dismounting, starting, and stopping.\u003c/p>\n\u003cp>Freedman has never owned a car. The Massachusetts-native moved to the Bay Area in 2000 for a job in tech, but quickly fell into the Bay Area bike community. In 2003, Freedman founded \u003ca href=\"http://rockthebike.com/store/\" target=\"_blank\" rel=\"noopener\">Rock the Bike\u003c/a>, an Oakland-based non-profit that provides pedal-power bikes and generators for public events. Two of Rock the Bike’s generators were used at the main protest camp at Standing Rock last fall.\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>Freedman is also passionate about custom art bikes. His first creation, a tree-shaped bike named “El Arbor,” has become a fixture at many environment-themed events.\u003c/p>\n\u003cp>Facing the culture of climate denial coming from President Trump’s White House, Freedman hopes the Boolander will play a small role in helping to sustain and grow participation in the climate movement.\u003c/p>\n\u003cp>In December, he brought the Boolander to a “Stand Up for Science” rally organized by the grassroots climate change advocacy organization \u003ca href=\"https://350.org/\" target=\"_blank\" rel=\"noopener\">350.org\u003c/a>, where attendees lined up for a chance to go for a ride. “The important part of a rally are a lot of people showing up,” Freedman says. “But having things to do and see to make it fun can motivate people to go to the next one.”\u003c/p>\n\u003cp>The 200-mile Climate Ride, which begins on Saturday, Feb. 25, is going to be a test of the Boolander’s mettle: Freedman (who says he’ll be riding solo this time) will ascend from below sea level to more than 5,000-feet in elevation on the bike. And he plans to \u003ca href=\"http://TinyURL.com/hm4yehc\" target=\"_blank\" rel=\"noopener\">raise money\u003c/a> while he’s at it, splitting the donations he raises between Bike East Bay, 350.org, and the \u003ca href=\"http://www.climatedisobedience.org/\" target=\"_blank\" rel=\"noopener\">Climate Disobedience Center\u003c/a>.\u003c/p>\n\u003cp>\u003cem>— Video by Isara Krieger, Text by Kelly Whalen \u003c/em>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>This Fashion Week, designers have come up with widely varying ways to comment, either overtly or not, on the nation’s political situation. Naeem Khan decided to use poetry.\u003c/p>\n\u003cp>As the final design made its way down the runway on Tuesday — a grand, glistening, golden bridal gown, with a gold floral crown and a cascading veil with a black-and-gold train — the soundtrack played Maya Angelou reading her poem, “Human Family.”\u003c/p>\n\u003cp>“The variety of our skin tones can confuse, bemuse, delight, brown and pink and beige and purple, tan and blue and white,” the poem reads in part.\u003c/p>\n\u003cp>It closes by saying, three times: “We are more alike, my friends, than we are unalike.”\u003c/p>\n\u003cp>Backstage, Khan spoke about President Donald Trump’s travel ban and its potential impact on the fashion industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You look at the fashion business, it drives the economy of our country,” said Khan, who was born in India and is a U.S. citizen. “It’s the third or fourth largest business in America. You cannot have a business so big and have a travel ban.”\u003c/p>\n\u003cp>He added: “You look across all the designers … we bring diversity. And we make business by being all together to create newness mixed with volume mixed with so many amazing, beautiful things that come from different parts of the world. So we cannot have a travel ban. Especially if it’s confined to one community. I mean that is absolutely not acceptable because that’s not our Constitution.”\u003c/p>\n\u003cp>Khan was a favorite designer of former first lady Michelle Obama, and famously designed the shimmering gown she wore to the India state dinner — her first.\u003c/p>\n\u003cp>There were plenty of equally shimmering gowns at Tuesday’s runway show, including a few striking Deco-inspired looks — in gold metallic thread, or sequins. Khan also showed flouncy party dresses in tea length; a silvery sequined dress with ruffle straps and a peplum detail looked like almost like a very chic suit of armor. Embellishment was still key; Khan said he had experimented with new types of embroidery and placing sequins at different angles, to create texture and catch the light.\u003c/p>\n\u003cp>The collection began with somewhat more casual looks, part of an effort by Khan to expand more into daywear — animal print coats, print dresses, or a beaded jacket over drawstring pants. In an especially bright ensemble, high embroidered boots matched the embroidery on the dress, for shoulder-to-toe color.\u003c/p>\n\u003cp>“The inspiration was this larger-than-life woman who is my client, who is all the women I dress,” Khan said. “There are women across the world who wear my clothes, so how do I take different art from different parts of the world in today’s climate to show … diversity and beauty? This is the collection.”\u003c/p>\n\u003cp>Among the guests was actress Mandy Moore, star of TV’s “This Is Us.” She opted against a dress, given the weather, and wore one of Khan’s beaded, full-length vests.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I just have been introduced to Naeem’s stuff,” she said. “I wore one of his dresses to the Golden Globes this year and was floored by how empowered I felt.”\u003c/p>\n\n",
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"content": "\u003cp>Disney’s Maker Studios and Google’s YouTube are distancing themselves from a top YouTube star after he made jokes construed as anti-Semitic and posted Nazi imagery in his videos.\u003c/p>\n\u003cp>Felix Kjellberg, known online as PewDiePie, has the most popular YouTube channel, with more than 53 million subscribers. The Swedish YouTube star rose to fame by posting videos of him playing and commenting about video games. More recently, he branched out into non-gaming videos that show him performing skits, stunts or making jokes.\u003c/p>\n\u003cp>Disney, whose Maker Studios runs Kjellberg’s channels and network, said he crossed the line with some of his videos. One video from January shows two Indian men paid by Kjellberg to hold up a sign that says “Death to all Jews.” Kjellberg said the video was meant to demonstrate how far people will go if they get paid to do something, but he didn’t think they would actually do it. \u003c/p>\n\u003cp>Other videos show Nazi imagery in a satirical way.\u003c/p>\n\u003cp>In blog post Kjellberg said he was making jokes, but realizes now that they were offensive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kjellberg’s channel was already part of Maker Studios when the Walt Disney Co. bought Maker in 2014 for $675 million. Maker contracts with individuals such as Kjellberg to produce videos for various YouTube channels.\u003c/p>\n\u003cp>Kjellberg pulled the video showing the two men displaying the anti-Semitic sign, but it is excerpted in a Wall Street Journal video. Other videos still on the site show Nazi imagery being used satirically.\u003c/p>\n\u003cp>Maker Studios said in a statement that while Kjellberg’s channel is popular because he is irreverent and provocative, the studio is ending its affiliation with him because he went too far.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube spokeswoman Michelle Slavich said YouTube has canceled the release of the second season of Kjellberg’s reality show “Scare PewDiePie” and removed the PewDiePie channel from its Google Preferred advertising program, which aggregates top YouTube content for advertisers to buy time on.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kjellberg’s channel was already part of Maker Studios when the Walt Disney Co. bought Maker in 2014 for $675 million. Maker contracts with individuals such as Kjellberg to produce videos for various YouTube channels.\u003c/p>\n\u003cp>Kjellberg pulled the video showing the two men displaying the anti-Semitic sign, but it is excerpted in a Wall Street Journal video. Other videos still on the site show Nazi imagery being used satirically.\u003c/p>\n\u003cp>Maker Studios said in a statement that while Kjellberg’s channel is popular because he is irreverent and provocative, the studio is ending its affiliation with him because he went too far.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube spokeswoman Michelle Slavich said YouTube has canceled the release of the second season of Kjellberg’s reality show “Scare PewDiePie” and removed the PewDiePie channel from its Google Preferred advertising program, which aggregates top YouTube content for advertisers to buy time on.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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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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"order": 12
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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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"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": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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