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"content": "\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=rLlXlMLMNZ0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Empire Seven Studios of San Jose has until March 1st to figure out where it's going to live next.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\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/rLlXlMLMNZ0'\n title='//www.youtube.com/embed/rLlXlMLMNZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"headTitle": "L.A.’s Pussyhat Project Crafts a Political Statement | KQED",
"content": "\u003cp>Los Angeles’ quaint \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/atwater-village/\">Atwater Village\u003c/a> is the unlikely epicenter of a political movement that’s gone viral. The founders of the \u003ca href=\"https://www.pussyhatproject.com/\">Pussyhat Project\u003c/a> are responsible for the thousands of protesters who will be wearing pink cat-eared hats at this weekend’s post-inauguration \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Screenwriter \u003ca href=\"https://twitter.com/kristasuh\">Krista Suh\u003c/a> and architect \u003ca href=\"http://www.jaynazweiman.com/\">Jayna Zweiman\u003c/a> spun the Pussyhat Project at \u003ca href=\"http://www.thelittleknittery.com/\">The Little Knittery\u003c/a> last November. Friends for only a few months, the two novice knitters were devastated by the election of Donald Trump and turned to yarn and needles to channel their disappointment.\u003c/p>\n\u003cp>Inspiration for the project came to Suh while planning to attend the march.\u003c/p>\n\u003cp>“I should knit a hat because it’s going to be really cold there and I’m just an L.A. girl not used to the elements,” recalls Suh, wearing a Pussyhat made with hot pink yarn. “And that’s when it really hit me. If I, a beginner knitter, can make this hat, other people can, too. And it’s not just about me anymore.”\u003c/p>\n\u003cp>And the name? Well, there’s that \u003ca href=\"http://wpo.st/IJVR2\">infamous comment\u003c/a> Donald Trump made while filming an episode of “Access Hollywood.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s the \u003ca href=\"https://www.pussyhatproject.com/knit/\">Pussy Power Hat\u003c/a>!” says Suh, laughing. “Everyone fell silent. They’re like, That. Is. It. It was like history was being made.”\u003c/p>\n\u003cp>Along with \u003ca href=\"http://www.ravelry.com/designers/kat-coyle\">Kat Coyle\u003c/a>, the owner of The Little Knittery, Suh and Zweiman quickly designed the “Pussy Power Hat” and released \u003ca href=\"http://www.ravelry.com/patterns/library/pussyhat-project\">the pattern\u003c/a> via social media. And just like that, the project went viral.\u003c/p>\n\u003cp>https://youtu.be/AesiuE-D1Ms\u003c/p>\n\u003cp>On a recent Friday night at The Little Knittery, there’s not an empty seat at the suddenly bustling store. Pink balls of yarn spin as needles click and conversation flows. Seated at a large, long table covered with cookies, candy and coffee mugs, Marina Mont’Ros is working on her 24th Pussyhat.\u003c/p>\n\u003cp>“I’ve made ones with fuzzy ears. I made one with reflective yarn so that it glows in the dark,” she says.\u003c/p>\n\u003cp>Since the project started, Mont’Ros has made the 45-minute bus trip each week to be here.\u003c/p>\n\u003cp>“Not everybody lives right here in this area, but we can all come together and do this because it’s something we believe in,” says Mont’Ros. “And that’s an amazing thing to me.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I just love … reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.’\u003ccite>Kazi Pitelka\u003c/cite>\u003c/aside>\n\u003cp>This “knit-in” is just one of many taking place in yarn shops up and down the state and across the county. Even women in \u003ca href=\"https://www.pussyhatproject.com/hat-tracker/\">places as far away as Australia and Norway\u003c/a> have formed Pussyhat knitting groups. The goal is to knit, crochet or sew tens of thousands of these hats to give away to marchers going to D.C.\u003c/p>\n\u003cp>But according to Suh and Zweiman, it doesn’t stop with those who will go to Washington. They see the Pussyhat Project as way women can participate in the event even if they can’t physically be in D.C. or at one of the many \u003ca href=\"https://www.womensmarch.com/sisters/\">women’s marches\u003c/a> slated for big and small towns across the nation that day.\u003c/p>\n\u003cp>Wearing a thick, loose-knit Pussyhat, co-founder Jayna Zweiman has an easy smile as she talks about the project.\u003c/p>\n\u003cp>“I’m really hoping that this is a very strong powerful visual, but also that there are these connections amongst people to be ready for women’s activism in the future,” says Zweiman. “It’s not just about the hats. It’s so much more.”\u003c/p>\n\u003cp>And it is. Each hat will bear the message of a women’s issue important to the knitter. A message delivered so much easier because, you can’t deny it, these hats are cute.\u003c/p>\n\u003cfigure id=\"attachment_11273984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273984\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg\" alt=\"A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the hat is laid flat it’s in the shape of a rectangle. But when you put it on your head, the little corners of the rectangle at the top pop out a little bit to look like cat ears,” Zweiman explains. “It’s a pussycat hat. So in a way it can be very G-rated.”\u003c/p>\n\u003cp>Or not.\u003c/p>\n\u003cp>“You can call it the kitty hat. A lot of parents have been talking to their daughters and sons about it in that way,” affirms Zweiman.\u003c/p>\n\u003cp>Kazi Pitelka agrees. She’s been knitting since she was a child.\u003c/p>\n\u003cp>[contextly_sidebar id=”eZOI3StrBjPTrYzxBMdl4tPjV0RJb9hv”]\u003c/p>\n\u003cp>“I just love it. Love, you know, reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.”\u003c/p>\n\u003cp>Mont’Ros seconds that emotion.\u003c/p>\n\u003cp>“If you call it a pussy. If you say, you know, va-jay-jay… or your lady place. Whatever you call it, say it proudly.”\u003c/p>\n\u003cp>And the project is making a difference to her. The camaraderie. The shared values. And it says something important about the collective strength of women in a challenging new time.\u003c/p>\n\u003cfigure id=\"attachment_11273994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273994\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg\" alt=\"Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know we’re knitting these and we’re feeling powerful while we’re making them, and that’s going into the hat itself. All of this love,” says Mont’Ros. “And now somebody is going to wear it and that’s going to be a symbol. Symbols are powerful things.”\u003c/p>\n\u003cp>With less than a week to go until the Women’s March, Suh and Zweiman have no idea how many Pussyhats have been made. They think the total is somewhere between 30,000 and 100,000 from \u003ca href=\"https://www.instagram.com/explore/tags/pussyhatproject/\">crafters working across the country\u003c/a> and beyond. But both say they’re more concerned with creating a community than reaching a certain number. That’s the power of the Pussyhat.\u003c/p>\n\u003cp>“It tells everyone that I believe in women’s rights,” says Suh, “and I’m not ashamed to talk about it and show it to people.”\u003c/p>\n\u003cp>But she admits with a laugh that she has bigger plans.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I hope it becomes a really hot fashion item. I hope people give the hat to their granddaughters one day, like, I wore this to the \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in 2017.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles’ quaint \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/atwater-village/\">Atwater Village\u003c/a> is the unlikely epicenter of a political movement that’s gone viral. The founders of the \u003ca href=\"https://www.pussyhatproject.com/\">Pussyhat Project\u003c/a> are responsible for the thousands of protesters who will be wearing pink cat-eared hats at this weekend’s post-inauguration \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Screenwriter \u003ca href=\"https://twitter.com/kristasuh\">Krista Suh\u003c/a> and architect \u003ca href=\"http://www.jaynazweiman.com/\">Jayna Zweiman\u003c/a> spun the Pussyhat Project at \u003ca href=\"http://www.thelittleknittery.com/\">The Little Knittery\u003c/a> last November. Friends for only a few months, the two novice knitters were devastated by the election of Donald Trump and turned to yarn and needles to channel their disappointment.\u003c/p>\n\u003cp>Inspiration for the project came to Suh while planning to attend the march.\u003c/p>\n\u003cp>“I should knit a hat because it’s going to be really cold there and I’m just an L.A. girl not used to the elements,” recalls Suh, wearing a Pussyhat made with hot pink yarn. “And that’s when it really hit me. If I, a beginner knitter, can make this hat, other people can, too. And it’s not just about me anymore.”\u003c/p>\n\u003cp>And the name? Well, there’s that \u003ca href=\"http://wpo.st/IJVR2\">infamous comment\u003c/a> Donald Trump made while filming an episode of “Access Hollywood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s the \u003ca href=\"https://www.pussyhatproject.com/knit/\">Pussy Power Hat\u003c/a>!” says Suh, laughing. “Everyone fell silent. They’re like, That. Is. It. It was like history was being made.”\u003c/p>\n\u003cp>Along with \u003ca href=\"http://www.ravelry.com/designers/kat-coyle\">Kat Coyle\u003c/a>, the owner of The Little Knittery, Suh and Zweiman quickly designed the “Pussy Power Hat” and released \u003ca href=\"http://www.ravelry.com/patterns/library/pussyhat-project\">the pattern\u003c/a> via social media. And just like that, the project went viral.\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/AesiuE-D1Ms'\n title='//www.youtube.com/embed/AesiuE-D1Ms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On a recent Friday night at The Little Knittery, there’s not an empty seat at the suddenly bustling store. Pink balls of yarn spin as needles click and conversation flows. Seated at a large, long table covered with cookies, candy and coffee mugs, Marina Mont’Ros is working on her 24th Pussyhat.\u003c/p>\n\u003cp>“I’ve made ones with fuzzy ears. I made one with reflective yarn so that it glows in the dark,” she says.\u003c/p>\n\u003cp>Since the project started, Mont’Ros has made the 45-minute bus trip each week to be here.\u003c/p>\n\u003cp>“Not everybody lives right here in this area, but we can all come together and do this because it’s something we believe in,” says Mont’Ros. “And that’s an amazing thing to me.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I just love … reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.’\u003ccite>Kazi Pitelka\u003c/cite>\u003c/aside>\n\u003cp>This “knit-in” is just one of many taking place in yarn shops up and down the state and across the county. Even women in \u003ca href=\"https://www.pussyhatproject.com/hat-tracker/\">places as far away as Australia and Norway\u003c/a> have formed Pussyhat knitting groups. The goal is to knit, crochet or sew tens of thousands of these hats to give away to marchers going to D.C.\u003c/p>\n\u003cp>But according to Suh and Zweiman, it doesn’t stop with those who will go to Washington. They see the Pussyhat Project as way women can participate in the event even if they can’t physically be in D.C. or at one of the many \u003ca href=\"https://www.womensmarch.com/sisters/\">women’s marches\u003c/a> slated for big and small towns across the nation that day.\u003c/p>\n\u003cp>Wearing a thick, loose-knit Pussyhat, co-founder Jayna Zweiman has an easy smile as she talks about the project.\u003c/p>\n\u003cp>“I’m really hoping that this is a very strong powerful visual, but also that there are these connections amongst people to be ready for women’s activism in the future,” says Zweiman. “It’s not just about the hats. It’s so much more.”\u003c/p>\n\u003cp>And it is. Each hat will bear the message of a women’s issue important to the knitter. A message delivered so much easier because, you can’t deny it, these hats are cute.\u003c/p>\n\u003cfigure id=\"attachment_11273984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273984\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg\" alt=\"A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the hat is laid flat it’s in the shape of a rectangle. But when you put it on your head, the little corners of the rectangle at the top pop out a little bit to look like cat ears,” Zweiman explains. “It’s a pussycat hat. So in a way it can be very G-rated.”\u003c/p>\n\u003cp>Or not.\u003c/p>\n\u003cp>“You can call it the kitty hat. A lot of parents have been talking to their daughters and sons about it in that way,” affirms Zweiman.\u003c/p>\n\u003cp>Kazi Pitelka agrees. She’s been knitting since she was a child.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I just love it. Love, you know, reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.”\u003c/p>\n\u003cp>Mont’Ros seconds that emotion.\u003c/p>\n\u003cp>“If you call it a pussy. If you say, you know, va-jay-jay… or your lady place. Whatever you call it, say it proudly.”\u003c/p>\n\u003cp>And the project is making a difference to her. The camaraderie. The shared values. And it says something important about the collective strength of women in a challenging new time.\u003c/p>\n\u003cfigure id=\"attachment_11273994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273994\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg\" alt=\"Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know we’re knitting these and we’re feeling powerful while we’re making them, and that’s going into the hat itself. All of this love,” says Mont’Ros. “And now somebody is going to wear it and that’s going to be a symbol. Symbols are powerful things.”\u003c/p>\n\u003cp>With less than a week to go until the Women’s March, Suh and Zweiman have no idea how many Pussyhats have been made. They think the total is somewhere between 30,000 and 100,000 from \u003ca href=\"https://www.instagram.com/explore/tags/pussyhatproject/\">crafters working across the country\u003c/a> and beyond. But both say they’re more concerned with creating a community than reaching a certain number. That’s the power of the Pussyhat.\u003c/p>\n\u003cp>“It tells everyone that I believe in women’s rights,” says Suh, “and I’m not ashamed to talk about it and show it to people.”\u003c/p>\n\u003cp>But she admits with a laugh that she has bigger plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I hope it becomes a really hot fashion item. I hope people give the hat to their granddaughters one day, like, I wore this to the \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in 2017.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kevin Starr, a fourth-generation San Franciscan who stood alone as an interpreter of the vivid sweep of California history and its importance to the American nation, has died at the age of 76. \u003c/p>\n\u003cp>The Los Angeles Times, the first to report Starr’s passing, said he died Saturday after suffering a heart attack in San Francisco.\u003c/p>\n\u003cp>“Kevin Starr chronicled the history of California as no one else,” Gov. Jerry Brown — another native San Franciscan with deep ties to the history of the city and state — said in a statement Sunday. “He captured the spirit of our state and brought to life the characters and personalities that made the California story. His vision, like California itself, was bigger than life.”\u003c/p>\n\u003cp>Starr was born Sept. 3, 1940, and identified strongly with his native city. One of his great-grandfathers had arrived here during the 1850s and one of his grandfathers was a firefighter who battled the blaze that swept the city after the 1906 earthquake. \u003c/p>\n\u003cp>At various points, he ran, unsuccessfully, for the San Francisco Board of Supervisors, was an aide to Mayor Joseph Alioto, and served as the city’s head librarian. He went on to become the state librarian and to hold faculty appointments at a series of California colleges. At the time of his death, Starr was \u003ca href=\"https://dornsife.usc.edu/cf/faculty-and-staff/faculty.cfm?pid=1003730\" target=\"_blank\" rel=\"noopener\">a professor of history and policy, planning and development\u003c/a> at the University of Southern California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His biographical summary tends to bely what might describe as a turbulent childhood. From the L.A. Times obituary:\u003c/p>\n\u003cblockquote>\u003cp>At age 6, he and his younger brother were sent to Albertina Orphanage in Ukiah, more than 100 miles north of San Francisco, after his parents divorced and his mother suffered a nervous breakdown.\u003c/p>\n\u003cp>His mother eventually brought her two sons back to live in the Portrero Hill housing project in San Francisco, where the family lived on a monthly welfare check of $130.\u003c/p>\n\u003cp>To “emancipate” himself from the hardscrabble upbringing, he worked two newspaper delivery routes. Starr also credited the Catholic Church’s strong educational mission. He attended St. Boniface School in the Tenderloin district, and later, St. Ignatius High School, before completing his high school studies at a seminary and enrolling in the Jesuit-run University of San Francisco.\u003c/p>\u003c/blockquote>\n\u003cp>Starr went on to graduate studies at Harvard, where he earned a doctorate in American literature. It was there, he said in \u003ca href=\"http://www.latimes.com/la-oe-morrison11-2009jul11-column.html\">a 2009 L.A. Times interview\u003c/a>, he conceived the idea of his California history: \u003c/p>\n\u003cblockquote>\u003cp>\n“I thought, ‘There’s all kinds of wonderful books on California, but they don’t seem to have the point of view we’re encouraged to look at — the social drama of the imagination.’ So I started the first volume, writing it for my thesis.”\u003c/p>\u003c/blockquote>\n\u003cp>That work, published in 1973, was “Americans and the California Dream, 1850-1915.” The book, the first in an eight-volume series published over 36 years, traces how California bloomed into the national consciousness — as a primitive Eden, as the scene of riotous Gold Rush excess, as an American society founded and focused on the new, as a place of constant contradiction. \u003c/p>\n\u003cp>“Americans and the California Dream” is mostly a literary history, focusing on how a wide range of witnesses — including explorers, military, politicians, journalists, historians, poets and novelists — responded to California and, in turn, the affect California had on them and on American life and imagination. \u003c/p>\n\u003cp>Here he is, for instance, on the afterlife of the Gold Rush, which he said was responsible for an enduring “accrual of psychological associations” with the state:\u003c/p>\n\u003cblockquote>\u003cp>“Whatever else California was, good or bad, it was charged with human hope. It was linked imaginatively with the most compelling of American myths, the pursuit of happiness. … California would never lose this symbolic connection with an intensified pursuit of happiness. As a hope in defiance of facts, as a longing which could ennoble and encourage but which could also turn and devour itself, the symbolic value of California endured — a legacy of the Gold Rush.”\u003c/p>\u003c/blockquote>\n\u003cp>By the time the final book in the series, “Golden Dreams: California in an Age of Abundance, 1950-1963,” was published in 2009, Starr’s work had achieved landmark status. An \u003ca href=\"http://articles.latimes.com/2009/jul/08/entertainment/et-rutten8\" target=\"_blank\" rel=\"noopener\">L.A. Times reviewer\u003c/a> was almost euphoric:\u003c/p>\n\u003cblockquote>\u003cp>“Taken together, these books constitute as comprehensive a social, political, ethnographic, cultural and philosophical history as any state is ever likely to achieve. It was conceived in dazzling ambition and masterfully executed. The author’s scholarship and erudition animate each volume without once falling into the trap of self-regard. It is, in sum, an achievement made even more remarkable by the fact that it is wonderfully readable.”\u003c/p>\u003c/blockquote>\n\u003cp>Some criticized Starr for presenting too sunny a picture of California’s history, especially its early chapters. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=a1YZThJF_08\" target=\"_blank\" rel=\"noopener\">a 2013 talk at USF\u003c/a>, Starr acknowledged the criticism and talked about the growth of his own historical understanding. \u003c/p>\n\u003cp>“I have tried to develop more and more what [Spanish philosopher and playwright Miguel de] Unamuno called ‘the tragic sense of life’ and to see the war of good and evil occurring simultaneously,” Starr said. \u003c/p>\n\u003cp>That change might be seen his introduction to “Rooted in Barbarous Soil,” a volume of essays on the Gold Rush and its immediate aftermath, Starr addresses the “racist criminality” that characterized the era’s treatment of the native population and the denial of liberty and justice to immigrants of color.\u003c/p>\n\u003cp>“For some, the Gold Rush is a panorama of delusion, aggression, lies and deceit, broken promises and empty dreams,” Starr wrote. “For those who think this way, those long-ago years continue today in masked but still damaging forms. … Yet for those who believe that the California experiment, which is part of the larger American experiment, is of lasting value, the sins of the Gold Rush, while not denied or even forgiven, can be held in equipoise, in mitigating judgment, against all that the Gold Rush positively achieved. … Such positive results do not excuse the sins of the past; yet they do provide a hope that what has been accomplished has been, on balance, worth at least some of the terrible cost.”\u003c/p>\n\u003cp>In a widely quoted \u003ca href=\"http://www.sfchronicle.com/opinion/article/California-dreamin-The-Golden-State-has-a-2599066.php\" target=\"_blank\" rel=\"noopener\">2003 op-ed piece\u003c/a> for the San Francisco Chronicle, Starr wrote that “California is everything and nothing at all. It is the cutting edge of the American dream — a utopia. But it could also become the paradigm of the dream lost — a nightmare dystopia.”\u003c/p>\n\u003cp>He ticked off the major challenges facing the state, including mass incarceration due to the ongoing war on drugs, homelessness and declining quality of life for many in both urban and rural California, the dot-com bust, the collapse of the state’s finances, and the need to find a way to accommodate a continuing influx of people. \u003c/p>\n\u003cp>He closed by asking whether the California of the future would be one in which the state’s riches would “belong to a privileged few? Or will millions of Californians, including those of ordinary abilities, find themselves participating in what promises to be the most interesting social experiment on the planet?”\u003c/p>\n\u003cp>Starr was known as a dazzling conversationalist eager to take his audience along on his intellectual adventures. L.A. Times book editor Carolyn Kellogg described him in \u003ca href=\"http://articles.latimes.com/2013/apr/12/entertainment/la-ca-jc-kevin-starr-20130414\" target=\"_blank\" rel=\"noopener\">a 2013 piece\u003c/a>: \u003c/p>\n\u003cblockquote>\u003cp>“Asking Kevin Starr a question is like turning on a fire hose. First there’s a blast of erudition. Then, as his intellect gathers, information rushes out in a deluge. He’s talking, but it’s as if an invisible scholar inside his head is yanking books off shelves, throwing them open, checking the index, then racing off to find the next volume. On the outside, Starr is an avuncular 72-year-old, but his brain is sprinting like an Olympian.” \u003c/p>\u003c/blockquote>\n\u003cp>A couple of other Starr remembrances \u003ca href=\"http://www.sfchronicle.com/news/article/Kevin-Starr-historian-and-former-state-10859456.php\" target=\"_blank\" rel=\"noopener\">via the San Francisco Chronicle\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“No one else has more printed words on the formation of the Golden State, and what it means to the nation and world, than Starr,” said Mattie Taormina, who worked as Dr. Starr’s special assistant at the California State Library for more than eight years.\u003c/p>\n\u003cp>Taormina, who is now director of the Sutro Library — the California State Library’s San Francisco branch — said Dr. Starr’s compassion, wit and humility inspired everyone that knew him.\u003c/p>\n\u003cp>“He was a presence. He was the kind of force that would fill up a room whenever he came in,” Taormina said. “He was such a great mentor, and he was that way not just with me, but with everyone that worked at the library.”\u003c/p>\n\u003cp>… San Francisco Museum and Historical Society co-founder Charles Fracchia, who knew Dr. Starr for nearly 60 years, said his friend’s hard upbringing drove him to succeed on a “huge and broad level.”\u003c/p>\n\u003cp>“His books will not die; they will not go out of fashion. They will be on library shelves as works of literature,” Fracchia said.\u003c/p>\u003c/blockquote>\n\u003cp>Starr is survived by his wife, Sheila Starr of San Francisco, and daughters Jessica Starr and Marian Starr Imperatore..\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“He loved life, and he lived life in a beautiful and grand way — to the fullest,” Jessica Starr told the L.A. Times. “We’re sorry he is no longer with us. He was taken too soon.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kevin Starr, a fourth-generation San Franciscan who stood alone as an interpreter of the vivid sweep of California history and its importance to the American nation, has died at the age of 76. \u003c/p>\n\u003cp>The Los Angeles Times, the first to report Starr’s passing, said he died Saturday after suffering a heart attack in San Francisco.\u003c/p>\n\u003cp>“Kevin Starr chronicled the history of California as no one else,” Gov. Jerry Brown — another native San Franciscan with deep ties to the history of the city and state — said in a statement Sunday. “He captured the spirit of our state and brought to life the characters and personalities that made the California story. His vision, like California itself, was bigger than life.”\u003c/p>\n\u003cp>Starr was born Sept. 3, 1940, and identified strongly with his native city. One of his great-grandfathers had arrived here during the 1850s and one of his grandfathers was a firefighter who battled the blaze that swept the city after the 1906 earthquake. \u003c/p>\n\u003cp>At various points, he ran, unsuccessfully, for the San Francisco Board of Supervisors, was an aide to Mayor Joseph Alioto, and served as the city’s head librarian. He went on to become the state librarian and to hold faculty appointments at a series of California colleges. At the time of his death, Starr was \u003ca href=\"https://dornsife.usc.edu/cf/faculty-and-staff/faculty.cfm?pid=1003730\" target=\"_blank\" rel=\"noopener\">a professor of history and policy, planning and development\u003c/a> at the University of Southern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His biographical summary tends to bely what might describe as a turbulent childhood. From the L.A. Times obituary:\u003c/p>\n\u003cblockquote>\u003cp>At age 6, he and his younger brother were sent to Albertina Orphanage in Ukiah, more than 100 miles north of San Francisco, after his parents divorced and his mother suffered a nervous breakdown.\u003c/p>\n\u003cp>His mother eventually brought her two sons back to live in the Portrero Hill housing project in San Francisco, where the family lived on a monthly welfare check of $130.\u003c/p>\n\u003cp>To “emancipate” himself from the hardscrabble upbringing, he worked two newspaper delivery routes. Starr also credited the Catholic Church’s strong educational mission. He attended St. Boniface School in the Tenderloin district, and later, St. Ignatius High School, before completing his high school studies at a seminary and enrolling in the Jesuit-run University of San Francisco.\u003c/p>\u003c/blockquote>\n\u003cp>Starr went on to graduate studies at Harvard, where he earned a doctorate in American literature. It was there, he said in \u003ca href=\"http://www.latimes.com/la-oe-morrison11-2009jul11-column.html\">a 2009 L.A. Times interview\u003c/a>, he conceived the idea of his California history: \u003c/p>\n\u003cblockquote>\u003cp>\n“I thought, ‘There’s all kinds of wonderful books on California, but they don’t seem to have the point of view we’re encouraged to look at — the social drama of the imagination.’ So I started the first volume, writing it for my thesis.”\u003c/p>\u003c/blockquote>\n\u003cp>That work, published in 1973, was “Americans and the California Dream, 1850-1915.” The book, the first in an eight-volume series published over 36 years, traces how California bloomed into the national consciousness — as a primitive Eden, as the scene of riotous Gold Rush excess, as an American society founded and focused on the new, as a place of constant contradiction. \u003c/p>\n\u003cp>“Americans and the California Dream” is mostly a literary history, focusing on how a wide range of witnesses — including explorers, military, politicians, journalists, historians, poets and novelists — responded to California and, in turn, the affect California had on them and on American life and imagination. \u003c/p>\n\u003cp>Here he is, for instance, on the afterlife of the Gold Rush, which he said was responsible for an enduring “accrual of psychological associations” with the state:\u003c/p>\n\u003cblockquote>\u003cp>“Whatever else California was, good or bad, it was charged with human hope. It was linked imaginatively with the most compelling of American myths, the pursuit of happiness. … California would never lose this symbolic connection with an intensified pursuit of happiness. As a hope in defiance of facts, as a longing which could ennoble and encourage but which could also turn and devour itself, the symbolic value of California endured — a legacy of the Gold Rush.”\u003c/p>\u003c/blockquote>\n\u003cp>By the time the final book in the series, “Golden Dreams: California in an Age of Abundance, 1950-1963,” was published in 2009, Starr’s work had achieved landmark status. An \u003ca href=\"http://articles.latimes.com/2009/jul/08/entertainment/et-rutten8\" target=\"_blank\" rel=\"noopener\">L.A. Times reviewer\u003c/a> was almost euphoric:\u003c/p>\n\u003cblockquote>\u003cp>“Taken together, these books constitute as comprehensive a social, political, ethnographic, cultural and philosophical history as any state is ever likely to achieve. It was conceived in dazzling ambition and masterfully executed. The author’s scholarship and erudition animate each volume without once falling into the trap of self-regard. It is, in sum, an achievement made even more remarkable by the fact that it is wonderfully readable.”\u003c/p>\u003c/blockquote>\n\u003cp>Some criticized Starr for presenting too sunny a picture of California’s history, especially its early chapters. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=a1YZThJF_08\" target=\"_blank\" rel=\"noopener\">a 2013 talk at USF\u003c/a>, Starr acknowledged the criticism and talked about the growth of his own historical understanding. \u003c/p>\n\u003cp>“I have tried to develop more and more what [Spanish philosopher and playwright Miguel de] Unamuno called ‘the tragic sense of life’ and to see the war of good and evil occurring simultaneously,” Starr said. \u003c/p>\n\u003cp>That change might be seen his introduction to “Rooted in Barbarous Soil,” a volume of essays on the Gold Rush and its immediate aftermath, Starr addresses the “racist criminality” that characterized the era’s treatment of the native population and the denial of liberty and justice to immigrants of color.\u003c/p>\n\u003cp>“For some, the Gold Rush is a panorama of delusion, aggression, lies and deceit, broken promises and empty dreams,” Starr wrote. “For those who think this way, those long-ago years continue today in masked but still damaging forms. … Yet for those who believe that the California experiment, which is part of the larger American experiment, is of lasting value, the sins of the Gold Rush, while not denied or even forgiven, can be held in equipoise, in mitigating judgment, against all that the Gold Rush positively achieved. … Such positive results do not excuse the sins of the past; yet they do provide a hope that what has been accomplished has been, on balance, worth at least some of the terrible cost.”\u003c/p>\n\u003cp>In a widely quoted \u003ca href=\"http://www.sfchronicle.com/opinion/article/California-dreamin-The-Golden-State-has-a-2599066.php\" target=\"_blank\" rel=\"noopener\">2003 op-ed piece\u003c/a> for the San Francisco Chronicle, Starr wrote that “California is everything and nothing at all. It is the cutting edge of the American dream — a utopia. But it could also become the paradigm of the dream lost — a nightmare dystopia.”\u003c/p>\n\u003cp>He ticked off the major challenges facing the state, including mass incarceration due to the ongoing war on drugs, homelessness and declining quality of life for many in both urban and rural California, the dot-com bust, the collapse of the state’s finances, and the need to find a way to accommodate a continuing influx of people. \u003c/p>\n\u003cp>He closed by asking whether the California of the future would be one in which the state’s riches would “belong to a privileged few? Or will millions of Californians, including those of ordinary abilities, find themselves participating in what promises to be the most interesting social experiment on the planet?”\u003c/p>\n\u003cp>Starr was known as a dazzling conversationalist eager to take his audience along on his intellectual adventures. L.A. Times book editor Carolyn Kellogg described him in \u003ca href=\"http://articles.latimes.com/2013/apr/12/entertainment/la-ca-jc-kevin-starr-20130414\" target=\"_blank\" rel=\"noopener\">a 2013 piece\u003c/a>: \u003c/p>\n\u003cblockquote>\u003cp>“Asking Kevin Starr a question is like turning on a fire hose. First there’s a blast of erudition. Then, as his intellect gathers, information rushes out in a deluge. He’s talking, but it’s as if an invisible scholar inside his head is yanking books off shelves, throwing them open, checking the index, then racing off to find the next volume. On the outside, Starr is an avuncular 72-year-old, but his brain is sprinting like an Olympian.” \u003c/p>\u003c/blockquote>\n\u003cp>A couple of other Starr remembrances \u003ca href=\"http://www.sfchronicle.com/news/article/Kevin-Starr-historian-and-former-state-10859456.php\" target=\"_blank\" rel=\"noopener\">via the San Francisco Chronicle\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“No one else has more printed words on the formation of the Golden State, and what it means to the nation and world, than Starr,” said Mattie Taormina, who worked as Dr. Starr’s special assistant at the California State Library for more than eight years.\u003c/p>\n\u003cp>Taormina, who is now director of the Sutro Library — the California State Library’s San Francisco branch — said Dr. Starr’s compassion, wit and humility inspired everyone that knew him.\u003c/p>\n\u003cp>“He was a presence. He was the kind of force that would fill up a room whenever he came in,” Taormina said. “He was such a great mentor, and he was that way not just with me, but with everyone that worked at the library.”\u003c/p>\n\u003cp>… San Francisco Museum and Historical Society co-founder Charles Fracchia, who knew Dr. Starr for nearly 60 years, said his friend’s hard upbringing drove him to succeed on a “huge and broad level.”\u003c/p>\n\u003cp>“His books will not die; they will not go out of fashion. They will be on library shelves as works of literature,” Fracchia said.\u003c/p>\u003c/blockquote>\n\u003cp>Starr is survived by his wife, Sheila Starr of San Francisco, and daughters Jessica Starr and Marian Starr Imperatore..\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He loved life, and he lived life in a beautiful and grand way — to the fullest,” Jessica Starr told the L.A. Times. “We’re sorry he is no longer with us. He was taken too soon.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Underwater Art Installation Opens Near Catalina Coast",
"title": "Underwater Art Installation Opens Near Catalina Coast",
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"content": "\u003cp>The artist Doug Aitken has a history of taking his audiences out of traditional museum or gallery spaces. His latest installation, a companion piece to his retrospective exhibition \u003ca href=\"http://www.moca.org/exhibition/doug-aitken-electric-earth\">Electric Earth\u003c/a> at MOCA, is a series of sculptures in the ocean called \u003ca href=\"https://www.underwaterpavilions.com/#underwaterpavilions\">Underwater Pavilions\u003c/a>. Viewing them involves a ferry ride to the island of Catalina, followed by a deep-sea dive.\u003c/p>\n\u003cp>The installation is on the other side of town in the Casino Point Dive Park in front of the Catalina Casino, with its famed art deco ballroom.\u003c/p>\n\u003cp>The artwork is only 100 yards or so from shore. The turquoise glow around it stands out from the dark blue sea.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302609960\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"As you swim closer, you find yourself, I think, really in the present. You find yourself kind of caught in that moment with nothing else in your mind,\" Aitken said. \"You find yourself swimming through a sea of monochrome, kind of blue gray, and in front of you in the distance you start making out shapes -- these strange geometric shapes -- hexagonal shapes.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three sculptures all float at different depths. One has mirrors on the outside, and the other two have mirrors on the inside.\u003c/p>\n\u003cp>Those are the ones local dive instructor Joel Wilson really likes, \"because it’s kind of like a scuba diving changing room -- you go inside and you can kind of see yourself from all angles, and you really kind of get a sense of what I look like when I’m scuba diving.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kPE5rHTr5qs\u003c/p>\n\u003cp>They all have a textured surface designed for sea life to cling to, and live on. They’re big, 12 feet or so, enough to swim inside, look in the mirrors, turn around and swim out through one of the hexagonal openings.\u003c/p>\n\u003cp>Swimming through these sculptures was a cool experience. But getting to them was challenging. Aitken says it’s not just an inconvenience.\u003c/p>\n\u003cp>\"I think there’s something about taking this boat over there that kind of allows you to slow down and decelerate in a way,” Aitken said, “that disorienting sense of suddenly stepping into a completely different field of experience.\"\u003c/p>\n\u003cfigure id=\"attachment_11268140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Scuba2-800x470.jpg\" alt=\"A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation.\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation. \u003ccite>(Courtesy Joel Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aitken has a history of taking his audiences out of the traditional museum or gallery spaces. He's staged performances on a train traveling across America, and has had large-scale video installations in an airplane hangar-like space in Arles, France, and on a barge floating off the coast of Athens.\u003c/p>\n\u003cp>Cyrill Gutsch, founder of the environmental organization \u003ca href=\"http://www.parley.tv/#fortheoceans\">Parley for the Oceans\u003c/a>, says there’s more below the surface. His group has partnered with Aitken’s studio and MOCA on this project.\u003c/p>\n\u003cp>“The oceans are under such a massive threat and still nobody really knows or cares, because the sea feels like so far away from everyday life, and nobody really understands why it is necessary actually to protect the sea,” Gutsch said.\u003c/p>\n\u003cp>Parley doesn’t focus on protests, but rather employs art to raise consciousness about the plight of the oceans.\u003c/p>\n\u003cp>“Jacques Cousteau said in a very nice way, ‘People only protect what they love.’ And art is the perfect way to create that love -- to kind of close the gap that is between us, mankind, and that life that feels so distant, so far away, and still we are so depending on it,\" he said.\u003c/p>\n\u003cp>For most of us, Aitken says, the Pacific Ocean is so vast, \"we don’t really know where to go or what to see or how to approach it, so it becomes intimidating. It becomes this kind of dark mysterious mass. The idea of the Underwater Pavilions is to create something which is almost like an aperture. It's almost like a door into the ocean.\"\u003c/p>\n\u003cp>And for Parley, Doug Aitken’s art can make that connection.\u003c/p>\n\u003cp>“It’s like a bait in a way, to lure people down to discover – to explore,” Gutsch said.\u003c/p>\n\u003cfigure id=\"attachment_11268216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268216\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg\" alt=\"One of Doug Aitken's sculptures, just before being submerged.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1180x886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-960x721.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Doug Aitken's sculptures, just before being submerged. \u003ccite>(Courtesy Doug Aitken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the town of Avalon, it's bait to further attract tourists to the island. And according to Richard Huband at the local scuba shop, there’s already plenty of interest from the mainland, too.\u003c/p>\n\u003cp>“We’ve had people calling just to come and see the sculptures before they are even installed. So yeah, we’ll get more divers because they want to come and see them,” Huband said.\u003c/p>\n\u003cp>In fact, divers travel to see great wrecks around the world, so this will be a draw for divers. But will it be a draw for art lovers in general?\u003c/p>\n\u003cp>The sculptures are expected to stay where they are for at least the next three months. You just need to drive, park, take a ferry to Catalina, rent your gear if you need it, and dive. The trip could cost $200, and that's if you don’t stay overnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d rather experience Underwater Pavilions from dry land, for free, they’re in the process of installing a live video and audio feed of the sculptures.\u003c/p>\n\n",
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"excerpt": "Environmental groups hope artist Doug Aitken's latest installation will help raise consciousness about the plight of the world's oceans.",
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"nprByline": "\u003cstrong>\u003ca href=\"http://blogs.kcrw.com/dna/author/ericdrachman\">Eric Drachman\u003c/a>\u003cbr>\u003ca href=\"http://www.kcrw.com/\">KCRW\u003c/a>\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist Doug Aitken has a history of taking his audiences out of traditional museum or gallery spaces. His latest installation, a companion piece to his retrospective exhibition \u003ca href=\"http://www.moca.org/exhibition/doug-aitken-electric-earth\">Electric Earth\u003c/a> at MOCA, is a series of sculptures in the ocean called \u003ca href=\"https://www.underwaterpavilions.com/#underwaterpavilions\">Underwater Pavilions\u003c/a>. Viewing them involves a ferry ride to the island of Catalina, followed by a deep-sea dive.\u003c/p>\n\u003cp>The installation is on the other side of town in the Casino Point Dive Park in front of the Catalina Casino, with its famed art deco ballroom.\u003c/p>\n\u003cp>The artwork is only 100 yards or so from shore. The turquoise glow around it stands out from the dark blue sea.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/302609960&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/302609960'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"As you swim closer, you find yourself, I think, really in the present. You find yourself kind of caught in that moment with nothing else in your mind,\" Aitken said. \"You find yourself swimming through a sea of monochrome, kind of blue gray, and in front of you in the distance you start making out shapes -- these strange geometric shapes -- hexagonal shapes.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three sculptures all float at different depths. One has mirrors on the outside, and the other two have mirrors on the inside.\u003c/p>\n\u003cp>Those are the ones local dive instructor Joel Wilson really likes, \"because it’s kind of like a scuba diving changing room -- you go inside and you can kind of see yourself from all angles, and you really kind of get a sense of what I look like when I’m scuba diving.\"\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/kPE5rHTr5qs'\n title='//www.youtube.com/embed/kPE5rHTr5qs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They all have a textured surface designed for sea life to cling to, and live on. They’re big, 12 feet or so, enough to swim inside, look in the mirrors, turn around and swim out through one of the hexagonal openings.\u003c/p>\n\u003cp>Swimming through these sculptures was a cool experience. But getting to them was challenging. Aitken says it’s not just an inconvenience.\u003c/p>\n\u003cp>\"I think there’s something about taking this boat over there that kind of allows you to slow down and decelerate in a way,” Aitken said, “that disorienting sense of suddenly stepping into a completely different field of experience.\"\u003c/p>\n\u003cfigure id=\"attachment_11268140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Scuba2-800x470.jpg\" alt=\"A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation.\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation. \u003ccite>(Courtesy Joel Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aitken has a history of taking his audiences out of the traditional museum or gallery spaces. He's staged performances on a train traveling across America, and has had large-scale video installations in an airplane hangar-like space in Arles, France, and on a barge floating off the coast of Athens.\u003c/p>\n\u003cp>Cyrill Gutsch, founder of the environmental organization \u003ca href=\"http://www.parley.tv/#fortheoceans\">Parley for the Oceans\u003c/a>, says there’s more below the surface. His group has partnered with Aitken’s studio and MOCA on this project.\u003c/p>\n\u003cp>“The oceans are under such a massive threat and still nobody really knows or cares, because the sea feels like so far away from everyday life, and nobody really understands why it is necessary actually to protect the sea,” Gutsch said.\u003c/p>\n\u003cp>Parley doesn’t focus on protests, but rather employs art to raise consciousness about the plight of the oceans.\u003c/p>\n\u003cp>“Jacques Cousteau said in a very nice way, ‘People only protect what they love.’ And art is the perfect way to create that love -- to kind of close the gap that is between us, mankind, and that life that feels so distant, so far away, and still we are so depending on it,\" he said.\u003c/p>\n\u003cp>For most of us, Aitken says, the Pacific Ocean is so vast, \"we don’t really know where to go or what to see or how to approach it, so it becomes intimidating. It becomes this kind of dark mysterious mass. The idea of the Underwater Pavilions is to create something which is almost like an aperture. It's almost like a door into the ocean.\"\u003c/p>\n\u003cp>And for Parley, Doug Aitken’s art can make that connection.\u003c/p>\n\u003cp>“It’s like a bait in a way, to lure people down to discover – to explore,” Gutsch said.\u003c/p>\n\u003cfigure id=\"attachment_11268216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268216\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg\" alt=\"One of Doug Aitken's sculptures, just before being submerged.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1180x886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-960x721.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Doug Aitken's sculptures, just before being submerged. \u003ccite>(Courtesy Doug Aitken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the town of Avalon, it's bait to further attract tourists to the island. And according to Richard Huband at the local scuba shop, there’s already plenty of interest from the mainland, too.\u003c/p>\n\u003cp>“We’ve had people calling just to come and see the sculptures before they are even installed. So yeah, we’ll get more divers because they want to come and see them,” Huband said.\u003c/p>\n\u003cp>In fact, divers travel to see great wrecks around the world, so this will be a draw for divers. But will it be a draw for art lovers in general?\u003c/p>\n\u003cp>The sculptures are expected to stay where they are for at least the next three months. You just need to drive, park, take a ferry to Catalina, rent your gear if you need it, and dive. The trip could cost $200, and that's if you don’t stay overnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d rather experience Underwater Pavilions from dry land, for free, they’re in the process of installing a live video and audio feed of the sculptures.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Sacramento Ballet announced this week that its board will replace longtime artistic directors Ron Cunningham and Carinne Binda, who have held the post for 30 years.\u003c/p>\n\u003cp>Nancy Garton, president of the ballet’s board of directors, told the \u003cem>Sacramento Bee\u003c/em> this week that a search committee was created to find a new artistic director by the spring. Cunningham and Binda — who are married — will finish the 2017–2018 season, which ends on July 30 of next year.\u003c/p>\n\u003cp>“Times change,” Garton told \u003ca href=\"http://www.capradio.org/articles/2017/01/11/sacramento-ballet-looks-for-new-artistic-director/\" target=\"_blank\" rel=\"noopener\">Capital Public Radio\u003c/a>. “We have to, I think, keep up with the world and its changes.” \u003c/p>\n\u003cp>The announcement surprised the Sacramento arts community, and has received some harsh criticism.\u003c/p>\n\u003cp>“Your decision to release Ron Cunningham and Carinne Binda from their contract is one of the saddest days ever for the arts community in Sacramento and for the world of ballet,” \u003ca href=\"https://www.facebook.com/sacballet/posts/10154838959489360\" target=\"_blank\" rel=\"noopener\">Jay Mather wrote\u003c/a> on the \u003ca href=\"https://www.facebook.com/sacballet/?fref=nf\" target=\"_blank\" rel=\"noopener\">Sacramento Ballet Facebook\u003c/a> page. “While your decisions may have good intentions, they are clumsy and disrespectful.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.sacbee.com/entertainment/arts-culture/article125760194.html\" target=\"_blank\" rel=\"noopener\">Read more at the Sacramento Bee\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Sacramento Ballet announced this week that its board will replace longtime artistic directors Ron Cunningham and Carinne Binda, who have held the post for 30 years.\u003c/p>\n\u003cp>Nancy Garton, president of the ballet’s board of directors, told the \u003cem>Sacramento Bee\u003c/em> this week that a search committee was created to find a new artistic director by the spring. Cunningham and Binda — who are married — will finish the 2017–2018 season, which ends on July 30 of next year.\u003c/p>\n\u003cp>“Times change,” Garton told \u003ca href=\"http://www.capradio.org/articles/2017/01/11/sacramento-ballet-looks-for-new-artistic-director/\" target=\"_blank\" rel=\"noopener\">Capital Public Radio\u003c/a>. “We have to, I think, keep up with the world and its changes.” \u003c/p>\n\u003cp>The announcement surprised the Sacramento arts community, and has received some harsh criticism.\u003c/p>\n\u003cp>“Your decision to release Ron Cunningham and Carinne Binda from their contract is one of the saddest days ever for the arts community in Sacramento and for the world of ballet,” \u003ca href=\"https://www.facebook.com/sacballet/posts/10154838959489360\" target=\"_blank\" rel=\"noopener\">Jay Mather wrote\u003c/a> on the \u003ca href=\"https://www.facebook.com/sacballet/?fref=nf\" target=\"_blank\" rel=\"noopener\">Sacramento Ballet Facebook\u003c/a> page. “While your decisions may have good intentions, they are clumsy and disrespectful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>UPDATE:\u003c/strong> \u003cem>Friday, Jan. 13 at 11am\u003c/em>\u003c/p>\n\u003cp>Two members of the veteran Oakland R&B-funk band Tower of Power were in critical condition Thursday night after being struck by an Amtrak train near Jack London Square shortly before 8pm, according to several sources including a band spokesperson. They were scheduled to perform two sets at Yoshi’s, the jazz club that borders the transit hub, and a venue where the band plays regularly.\u003c/p>\n\u003cp>“In an unfortunate accident tonight, two members of the award-winning group Tower Of Power, drummer David Garibaldi and current bassist Marc Van Wageningen, were struck by a train in California,” said their publicist, Jeremy Westby, in a statement. “Both men are responsive and being treated at a local hospital in Oakland.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfchronicle.com/bayarea/article/2-pedestrians-hit-by-train-in-Oakland-near-estuary-10854827.php\" target=\"_blank\" rel=\"noopener\">According to the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, the accident occurred when Garibaldi, Van Wageningen, and two other pedestrians tried to cross the train tracks while the guard arms were down, possibly because they thought the warning was for a slow freight train that had just passed. An Amtrak train was coming at about 25 mph from the other direction on a different track, Oakland Police Sgt. Aaron Smith told the \u003cem>Chronicle\u003c/em>. The other two people were apparently able to jump out of the way before the two musicians were struck.\u003c/p>\n\u003cp>Sheila E., the legendary drummer and frequent Tower of Power collaborator, sent out a call for well wishes on Twitter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://twitter.com/sheilaedrummer/status/819772464326582272\u003c/p>\n\u003cp>Tower of Power helped put the Bay Area on the soul-funk map in the ’70s, rising to international fame alongside fellow Oakland natives Sly and the Family Stone. Though the band also experienced its greatest commercial success in that decade, Tower of Power has continued touring extensively up through the present with a rotating cast of members. After several shows at Yoshi’s, their next scheduled show on this tour was Jan. 20 at a Harrah’s casino in Laughlin, Nevada.\u003c/p>\n\u003cp>Garibaldi originally joined Tower of Power on drums in 1970, sometimes taking breaks from the band, but generally considered a lifetime member. Van Wageningen had recently stepped in to relieve founding bassist Francis “Rocco” Prestia, who has \u003ca href=\"http://towerofpower.com/rocco_bio/index.html\" target=\"_blank\" rel=\"noopener\">battled health issues\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003cstrong>UPDATE:\u003c/strong> Founding member Emilio Castillo released a statement characterizing the band members as being in “serious condition,” but expected to recover. From the bandleader’s \u003ca href=\"https://www.facebook.com/OfficialTowerOfPowerBand/posts/1146673992112066\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I was at the hospital last night and saw David but Marc was in intensive care and I wasn’t able to see him. Dave’s head and face were pretty swollen and bruised but he was lucid and expected to recover. Marc came through surgery well; his internal bleeding was stopped and they were waiting for him to stabilize in order to do further testing. The doctors were cautiously optimistic. We appreciate the responses and prayers from our former bandmates, friends, and fans and we all remain hopeful and in prayer.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE:\u003c/strong> \u003cem>Friday, Jan. 13 at 11am\u003c/em>\u003c/p>\n\u003cp>Two members of the veteran Oakland R&B-funk band Tower of Power were in critical condition Thursday night after being struck by an Amtrak train near Jack London Square shortly before 8pm, according to several sources including a band spokesperson. They were scheduled to perform two sets at Yoshi’s, the jazz club that borders the transit hub, and a venue where the band plays regularly.\u003c/p>\n\u003cp>“In an unfortunate accident tonight, two members of the award-winning group Tower Of Power, drummer David Garibaldi and current bassist Marc Van Wageningen, were struck by a train in California,” said their publicist, Jeremy Westby, in a statement. “Both men are responsive and being treated at a local hospital in Oakland.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfchronicle.com/bayarea/article/2-pedestrians-hit-by-train-in-Oakland-near-estuary-10854827.php\" target=\"_blank\" rel=\"noopener\">According to the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, the accident occurred when Garibaldi, Van Wageningen, and two other pedestrians tried to cross the train tracks while the guard arms were down, possibly because they thought the warning was for a slow freight train that had just passed. An Amtrak train was coming at about 25 mph from the other direction on a different track, Oakland Police Sgt. Aaron Smith told the \u003cem>Chronicle\u003c/em>. The other two people were apparently able to jump out of the way before the two musicians were struck.\u003c/p>\n\u003cp>Sheila E., the legendary drummer and frequent Tower of Power collaborator, sent out a call for well wishes on Twitter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Tower of Power helped put the Bay Area on the soul-funk map in the ’70s, rising to international fame alongside fellow Oakland natives Sly and the Family Stone. Though the band also experienced its greatest commercial success in that decade, Tower of Power has continued touring extensively up through the present with a rotating cast of members. After several shows at Yoshi’s, their next scheduled show on this tour was Jan. 20 at a Harrah’s casino in Laughlin, Nevada.\u003c/p>\n\u003cp>Garibaldi originally joined Tower of Power on drums in 1970, sometimes taking breaks from the band, but generally considered a lifetime member. Van Wageningen had recently stepped in to relieve founding bassist Francis “Rocco” Prestia, who has \u003ca href=\"http://towerofpower.com/rocco_bio/index.html\" target=\"_blank\" rel=\"noopener\">battled health issues\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003cstrong>UPDATE:\u003c/strong> Founding member Emilio Castillo released a statement characterizing the band members as being in “serious condition,” but expected to recover. From the bandleader’s \u003ca href=\"https://www.facebook.com/OfficialTowerOfPowerBand/posts/1146673992112066\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I was at the hospital last night and saw David but Marc was in intensive care and I wasn’t able to see him. Dave’s head and face were pretty swollen and bruised but he was lucid and expected to recover. Marc came through surgery well; his internal bleeding was stopped and they were waiting for him to stabilize in order to do further testing. The doctors were cautiously optimistic. We appreciate the responses and prayers from our former bandmates, friends, and fans and we all remain hopeful and in prayer.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Love in Bitter Times, Corporatizing the Unthinkable, and Writers on Trump",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIjjB2KLCJQ\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiXy25ejFzU\u003c/p>\n\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hL28CrEaOsE\u003c/p>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The Do List this week features writers on Trump, retro soul, and an activist dance brigade.",
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"title": "Cy and David's Picks: Love in Bitter Times, Corporatizing the Unthinkable, and Writers on Trump | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" 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/aIjjB2KLCJQ'\n title='//www.youtube.com/embed/aIjjB2KLCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jiXy25ejFzU'\n title='//www.youtube.com/embed/jiXy25ejFzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" 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/hL28CrEaOsE'\n title='//www.youtube.com/embed/hL28CrEaOsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Cesar Chávez became a national civil rights and labor leader, he worshiped at \u003ca href=\"http://www.olgparishsj.org/\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Parish\u003c/a> in east San Jose.\u003c/p>\n\u003cp>Now the hall on that church campus where Chavez learned to organize impoverished farmworkers is a national historic landmark, recognizing its status as a property of “exceptional value to the nation.”\u003c/p>\n\u003cp>The designation of 24 new National Historic Landmarks this week, “ensures future generations have the ability to learn from the past,” wrote Interior Secretary Sally Jewell in the announcement.\u003c/p>\n\u003cp>The former Our Lady of Guadalupe Mission Chapel in East San Jose, California, was originally built as a parish church in West San Jose in 1911. When the original owners sold the church building in 1953, it was moved to the current parish’s location in East San Jose, reconstructed, and reconsecrated as a mission chapel.\u003c/p>\n\u003cfigure id=\"attachment_12617321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12617321 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg\" alt=\"There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez's activism in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez’s activism in San Jose. \u003ccite>(Photo: Courtesy of the California State Parks Office of Historic Preservation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At that time, the Mayfair neighborhood was filling up with Mexican-American Catholics, and they asked the Diocese of San Francisco for their own church and a Spanish-speaking priest. Rev. Donald McDonnell was an activist priest, who encouraged his parishioners to get involved in politics, especially with issues that affected them directly. One of the parishioners who \u003ca href=\"http://www.ufw.org/_board.php?mode=view&b_code=news_press&b_no=11813\" target=\"_blank\" rel=\"noopener\">took McDonnell’s teachings to heart\u003c/a> was Chávez, whose farmworker parents had moved the family there from Arizona.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chávez later said his education began with the parish priest, according to Marc Grossman, who knew the civil rights icon for the last 24 years of his life and still serves as communications director for the Cesar Chavez Foundation. Chávez was in his early 20s when he met Father McDonnell, but the young man had only an eighth grade education at the time. Father McDonnell introduced to social justice literature in the Catholic Church as well as secular authors like Tolstoy and Machiavelli.\u003c/p>\n\u003cp>Grossman says the priest “did, in a very quiet way, change the world.”\u003c/p>\n\u003cp>Later renamed McDonnell Hall, the modest chapel became a center for grassroots activism on several social fronts and a training ground for community leaders like Chávez. It was at the mission that he and others got involved with the Community Service Organization in the 1950s and ’60s as it conducted voter registration drives, civil rights lawsuits and legislative campaigns, as well as citizenship and literacy classes.\u003c/p>\n\u003cp>Chávez would later apply what he learned in San Jose alongside Dolores Huerta to launch the United Farm Workers Union and organize the famous grape boycott that launched him to national prominence as a civil rights leader and advocate of nonviolent protest.\u003c/p>\n\u003cp>In the \u003ca href=\"https://www.nps.gov/nhl/news/LC/fall2016/OurLadyofGuadalupeChapel.pdf\" target=\"_blank\" rel=\"noopener\">application\u003c/a> for national historic status, El Teatro Campesino founder Luis Valdez (whose family members were parishioners at the mission in the 1950s), is quoted as saying McDonnell Hall not only still resonates as a symbol of the farmworker movement, but also serves as a broader symbol of an “ongoing struggle in the heart of humanity” for “social justice.”\u003c/p>\n\u003cp>\u003cstrong>Watch a KQED Newsroom feature on Chávez in San Jose\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_F5X64bXde0\u003c/p>\n\u003cp>The national status for McDonnell Hall follows a \u003ca href=\"http://www.mercurynews.com/2014/09/14/landmark-status-for-cesar-chavez-meeting-hall-in-east-san-jose/\" target=\"_blank\" rel=\"noopener\">successful bid for state status\u003c/a> as a historic landmark a few years ago.\u003c/p>\n\u003cp>Congresswoman Zoe Lofgren (D-San Jose) applauded the federal designation in \u003ca href=\"https://lofgren.house.gov/news/documentsingle.aspx?DocumentID=398119\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a>. “I’m so proud of the communal effort that has led to such a great recognition for this simple chapel where one of our greatest civil rights champions began a movement that changed lives throughout our nation.”\u003c/p>\n\u003cp>Historic landmark status, bestowed on more than 2,500 spots nationwide, comes with federal grants for preservation, program assistance and free publicity in National Park Service tourist and educational materials. For instance, the properties are listed in the \u003ca href=\"https://www.nps.gov/Nr/\" target=\"_blank\" rel=\"noopener\">National Register of Historic Places\u003c/a>.\u003c/p>\n\u003cp>Two other landmarks were designated in California:\u003c/p>\n\u003cp>•\u003ca href=\"http://www.chicanoparksandiego.com/\" target=\"_blank\" rel=\"noopener\"> Chicano Park\u003c/a> in San Diego, which locals occupied on Apr. 20, 1970 to prevent the construction of a California Highway Patrol substation on land the city had promised would become a neighborhood park. The park is now home to the Chicano Park Monumental Murals, an exceptional assemblage of master mural artwork painted on the freeway bridge supports.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>• The Neutra Studio and Residences (\u003ca href=\"http://neutra-vdl.org/\" target=\"_blank\" rel=\"noopener\">VDL Research House\u003c/a>) in Los Angeles is associated with Richard Neutra. During the 1940s, Neutra helped launch what we think of today as mid-century “California Modern” architecture.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Cesar Chávez became a national civil rights and labor leader, he worshiped at \u003ca href=\"http://www.olgparishsj.org/\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Parish\u003c/a> in east San Jose.\u003c/p>\n\u003cp>Now the hall on that church campus where Chavez learned to organize impoverished farmworkers is a national historic landmark, recognizing its status as a property of “exceptional value to the nation.”\u003c/p>\n\u003cp>The designation of 24 new National Historic Landmarks this week, “ensures future generations have the ability to learn from the past,” wrote Interior Secretary Sally Jewell in the announcement.\u003c/p>\n\u003cp>The former Our Lady of Guadalupe Mission Chapel in East San Jose, California, was originally built as a parish church in West San Jose in 1911. When the original owners sold the church building in 1953, it was moved to the current parish’s location in East San Jose, reconstructed, and reconsecrated as a mission chapel.\u003c/p>\n\u003cfigure id=\"attachment_12617321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12617321 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg\" alt=\"There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez's activism in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez’s activism in San Jose. \u003ccite>(Photo: Courtesy of the California State Parks Office of Historic Preservation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At that time, the Mayfair neighborhood was filling up with Mexican-American Catholics, and they asked the Diocese of San Francisco for their own church and a Spanish-speaking priest. Rev. Donald McDonnell was an activist priest, who encouraged his parishioners to get involved in politics, especially with issues that affected them directly. One of the parishioners who \u003ca href=\"http://www.ufw.org/_board.php?mode=view&b_code=news_press&b_no=11813\" target=\"_blank\" rel=\"noopener\">took McDonnell’s teachings to heart\u003c/a> was Chávez, whose farmworker parents had moved the family there from Arizona.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chávez later said his education began with the parish priest, according to Marc Grossman, who knew the civil rights icon for the last 24 years of his life and still serves as communications director for the Cesar Chavez Foundation. Chávez was in his early 20s when he met Father McDonnell, but the young man had only an eighth grade education at the time. Father McDonnell introduced to social justice literature in the Catholic Church as well as secular authors like Tolstoy and Machiavelli.\u003c/p>\n\u003cp>Grossman says the priest “did, in a very quiet way, change the world.”\u003c/p>\n\u003cp>Later renamed McDonnell Hall, the modest chapel became a center for grassroots activism on several social fronts and a training ground for community leaders like Chávez. It was at the mission that he and others got involved with the Community Service Organization in the 1950s and ’60s as it conducted voter registration drives, civil rights lawsuits and legislative campaigns, as well as citizenship and literacy classes.\u003c/p>\n\u003cp>Chávez would later apply what he learned in San Jose alongside Dolores Huerta to launch the United Farm Workers Union and organize the famous grape boycott that launched him to national prominence as a civil rights leader and advocate of nonviolent protest.\u003c/p>\n\u003cp>In the \u003ca href=\"https://www.nps.gov/nhl/news/LC/fall2016/OurLadyofGuadalupeChapel.pdf\" target=\"_blank\" rel=\"noopener\">application\u003c/a> for national historic status, El Teatro Campesino founder Luis Valdez (whose family members were parishioners at the mission in the 1950s), is quoted as saying McDonnell Hall not only still resonates as a symbol of the farmworker movement, but also serves as a broader symbol of an “ongoing struggle in the heart of humanity” for “social justice.”\u003c/p>\n\u003cp>\u003cstrong>Watch a KQED Newsroom feature on Chávez in San Jose\u003c/strong>\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/_F5X64bXde0'\n title='//www.youtube.com/embed/_F5X64bXde0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The national status for McDonnell Hall follows a \u003ca href=\"http://www.mercurynews.com/2014/09/14/landmark-status-for-cesar-chavez-meeting-hall-in-east-san-jose/\" target=\"_blank\" rel=\"noopener\">successful bid for state status\u003c/a> as a historic landmark a few years ago.\u003c/p>\n\u003cp>Congresswoman Zoe Lofgren (D-San Jose) applauded the federal designation in \u003ca href=\"https://lofgren.house.gov/news/documentsingle.aspx?DocumentID=398119\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a>. “I’m so proud of the communal effort that has led to such a great recognition for this simple chapel where one of our greatest civil rights champions began a movement that changed lives throughout our nation.”\u003c/p>\n\u003cp>Historic landmark status, bestowed on more than 2,500 spots nationwide, comes with federal grants for preservation, program assistance and free publicity in National Park Service tourist and educational materials. For instance, the properties are listed in the \u003ca href=\"https://www.nps.gov/Nr/\" target=\"_blank\" rel=\"noopener\">National Register of Historic Places\u003c/a>.\u003c/p>\n\u003cp>Two other landmarks were designated in California:\u003c/p>\n\u003cp>•\u003ca href=\"http://www.chicanoparksandiego.com/\" target=\"_blank\" rel=\"noopener\"> Chicano Park\u003c/a> in San Diego, which locals occupied on Apr. 20, 1970 to prevent the construction of a California Highway Patrol substation on land the city had promised would become a neighborhood park. The park is now home to the Chicano Park Monumental Murals, an exceptional assemblage of master mural artwork painted on the freeway bridge supports.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>• The Neutra Studio and Residences (\u003ca href=\"http://neutra-vdl.org/\" target=\"_blank\" rel=\"noopener\">VDL Research House\u003c/a>) in Los Angeles is associated with Richard Neutra. During the 1940s, Neutra helped launch what we think of today as mid-century “California Modern” architecture.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new study finds that just seven percent of the 250 highest-grossing films of 2016 were directed by women.\u003c/p>\n\u003cp>The Center for the Study of Women in Television and Film at San Diego State University on Thursday issued the 19th annual edition of its report, titled “The Celluloid Ceiling,” authored by the center’s executive director, Martha M. Lauzen. The rate of female directors was down 2 percent from last year.\u003c/p>\n\u003cp>Despite widespread attention in recent years to gender inequality in the film industry, the study found not only that opportunities aren’t improving, but are getting slightly worse. Nearly 20 years ago, in 1998, 9 percent of the top films were directed by women.\u003c/p>\n\u003cp>Researchers found the disparity across the board. In 2016, women comprised 17 percent of all directors, writers, producers, executive producers, editors and cinematographers in the top 250 domestic-grossing films. That also is a decline of two percent from 2015.\u003c/p>\n\u003cp>In recent years, gender inequality in Hollywood has drawn increased scrutiny, including an ongoing investigation by the federal Equal Employment Opportunity Commission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Numerous stars have also spoken out about pay disparity. Most recently, Natalie Portman, who last year released her directorial debut, \u003cem>A Tale of Love and Darkness\u003c/em>, told Marie Claire that she was paid three times less than co-star Ashton Kutcher in 2011’s \u003cem>No Strings Attached\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The center’s study also showed the trickle-down effect of hiring female directors. In analyzing the top 500 films, researchers found that on films with female directors, women accounted for 64 percent of writers. On male-directed films, just 9 percent were women.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new study finds that just seven percent of the 250 highest-grossing films of 2016 were directed by women.\u003c/p>\n\u003cp>The Center for the Study of Women in Television and Film at San Diego State University on Thursday issued the 19th annual edition of its report, titled “The Celluloid Ceiling,” authored by the center’s executive director, Martha M. Lauzen. The rate of female directors was down 2 percent from last year.\u003c/p>\n\u003cp>Despite widespread attention in recent years to gender inequality in the film industry, the study found not only that opportunities aren’t improving, but are getting slightly worse. Nearly 20 years ago, in 1998, 9 percent of the top films were directed by women.\u003c/p>\n\u003cp>Researchers found the disparity across the board. In 2016, women comprised 17 percent of all directors, writers, producers, executive producers, editors and cinematographers in the top 250 domestic-grossing films. That also is a decline of two percent from 2015.\u003c/p>\n\u003cp>In recent years, gender inequality in Hollywood has drawn increased scrutiny, including an ongoing investigation by the federal Equal Employment Opportunity Commission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Numerous stars have also spoken out about pay disparity. Most recently, Natalie Portman, who last year released her directorial debut, \u003cem>A Tale of Love and Darkness\u003c/em>, told Marie Claire that she was paid three times less than co-star Ashton Kutcher in 2011’s \u003cem>No Strings Attached\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The center’s study also showed the trickle-down effect of hiring female directors. In analyzing the top 500 films, researchers found that on films with female directors, women accounted for 64 percent of writers. On male-directed films, just 9 percent were women.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences",
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"content": "\u003cp>Along the left side of a cold, gray cement building on Alcatraz Island, hundreds of colorful NFL jerseys suspended on clothesline hang limp in the cold air.\u003c/p>\n\u003cp>The building is about as long as a football field. Broken windows, peeling paint and the busted out remains of what used to be toilets line the walls. It looks like the dirtiest NFL pro shop imaginable, only the jerseys aren’t for sale. They’re art.\u003c/p>\n\u003cp>“It’s really about shortening irrationally long prison sentences that are too often given for nonviolent minor drug crimes,” says Nelson Saiers, the New York-based artist behind \u003cem>\u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">Shortening: Making the Irrational Rational\u003c/a>, \u003c/em>currently on display on Alcatraz through Sunday, Feb. 5.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302155438″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The exhibition starts in the corner of the New Industries Building with a giant white “3” on a green piece of synthetic turf suspended from the ceiling. From there, the jerseys wind throughout the building, with the numbers on the back spelling out the first several hundred digits of the number pi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Pi is what’s called an irrational number which means it never ends nor repeats,” says the 41-year-old Saiers, who earned a Ph.D. in mathematics at the age of 23 and ran a hedge fund before becoming a full-time artist. “Now the way to turn it into a rational number is to shorten it. So that’s a very good metaphor for what needs to be done to these irrational prison sentences.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3OcZYZTS6q8&feature=youtu.be\u003c/p>\n\u003ch3>Inspired by news headlines\u003c/h3>\n\u003cp>Saiers’ process began with the news of the death of Freddie Gray, a black man in Baltimore, who died while in police custody in the spring of 2015.\u003c/p>\n\u003cp>The incident provoked a discussion between Saiers and a friend about the ongoing issues between communities of color and police departments.\u003c/p>\n\u003cp>“And he said, ‘Well the number one thing they gotta get rid of is football numbers because it’s destroying families,” Saiers says of that conversation. “It’s destroying entire communities.'”\u003c/p>\n\u003cp>Saiers’ friend told him that “football numbers” referred to double-digit prison sentences.\u003c/p>\n\u003cp>“It comes from the idea that if you get 30 years or 44 years or 25 years, it’s a number that looks like a number on a football jersey,” Saiers says. “So the football jerseys hanging in the room point to that expression.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"12605449,12605450,12605451,12605452,12605453\"]\u003c/p>\n\u003ch3>California’s stance on long prison sentences\u003c/h3>\n\u003cp>Many of those double-digit sentences for nonviolent drug crimes date back to tough on crime laws like California’s 1994 “Three Strikes” Law, which established mandatory long prison sentences for repeat offenders.\u003c/p>\n\u003cp>But those sentences have become less common in recent years. Two recent ballot measures — 2012’s Proposition 36 and 2014’s Proposition 47 — as well as Governor Jerry Brown’s prison realignment plan passed in 2011, were all designed in part to reduce the kinds of long prison terms Saiers protests in his work.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2012/11/12/prop-36-may-release-felons-from-prison-but-how-many/\" target=\"_blank\" rel=\"noopener\">Proposition 36\u003c/a> amended the 1994 Three Strikes Law to establish more lenient sentencing for nonviolent offenders, and \u003ca href=\"https://ww2.kqed.org/news/2015/08/22/proposition-47-gives-former-felons-a-new-chance/\" target=\"_blank\" rel=\"noopener\">Proposition 47\u003c/a> reclassified some nonviolent drug offenses from felonies down to misdemeanors. Both measures included opportunities for offenders already behind bars to appeal and potentially reduce their current sentences. \u003ca href=\"https://ww2.kqed.org/news/2016/09/29/five-years-later-many-see-criminal-justice-realignment-as-success/\" target=\"_blank\" rel=\"noopener\">Realignment\u003c/a> called for moving some nonviolent offenders, including those with drug convictions, out of state prisons and into county jails.\u003c/p>\n\u003cfigure id=\"attachment_12605440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605440 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg\" alt='A football jersey is strung on hemp rope as part of the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A football jersey is strung on hemp rope as part of the art installation “Shortening: Making the Irrational Rational”. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even with all of that progress — plus the possibility of even more reduced sentences after the passage last November of \u003ca href=\"http://elections.kqed.org/article/11076610/6-ways-recreational-pot-would-change-california-and-7-ways-it-wouldnt\" target=\"_blank\" rel=\"noopener\">Proposition 64\u003c/a> legalizing recreational marijuana — this is not a settled issue.\u003c/p>\n\u003cp>“While those changes have happened and continue to happen, you will still find people in state prison who are serving long sentences, life sentences,” says Krissi Khokhobashvili, spokeswoman for the California Department of Corrections and Rehabilitation.\u003c/p>\n\u003ch3>The many layers of \u003cem>Shortening\u003c/em>\u003c/h3>\n\u003cp>The complexities of Saiers’ artwork go beyond football jerseys and the number pi. For example, the piece also relates to the storied history of Alcatraz.\u003c/p>\n\u003cfigure id=\"attachment_12605438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg\" alt='Black duct tape covers up the term \"Redskins\" on a football jersey at the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black duct tape covers up the term “Redskins” on a football jersey at the art installation “Shortening: Making the Irrational Rational”. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saiers repeatedly pays homage in the exhibition to the Native American presence on The Rock. He put duct tape over jerseys emblazoned with the word “Redskins” to “mute” what he sees as a derogatory term. The numbers on those jerseys — 19 and 89 — also reflect the Native American occupation of Alcatraz, where 89 Native Americans held the island for 19 months between Nov. 1969 and Jun. 1971 — an action that helped give birth to the modern Native American civil rights movement.\u003c/p>\n\u003cfigure id=\"attachment_12605439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605439 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg\" alt=\"A white number 11 Chicago Bears jersey with the name "Capone" is strung up as part of the art installation "Shortening: Making the Irrational Rational" at Alcatraz on Tuesday, October 25, 2016. According to the artist, the smaller Capone jersey signifies that Capone's sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A white number 11 Chicago Bears jersey with the name “Capone” is strung up as part of the art installation “Shortening: Making the Irrational Rational” on Alcatraz. According to the artist, the smaller Capone jersey signifies that Capone’s sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also references famous Alcatraz inmates like Chicago mob boss Al Capone and Robert Stroud (better known as the Birdman of Alcatraz). Saiers says the numbers on the jerseys of bird-related teams (Eagles, Ravens, Seahawks, Cardinals, etc.) add up to 594, which was Stroud’s inmate number at Alcatraz.\u003c/p>\n\u003cp>In the same vein, most of the Chicago Bears jerseys show number 85, representing Capone, who wore that number while imprisoned on Alcatraz. Saiers says this number 11 jersey with Capone’s name on the back represents the crime boss’ 11-year prison sentence for tax evasion. He says the jersey is smaller than all the others because Capone’s is an example of a sentence that should’ve been lengthened instead of shortened.\u003c/p>\n\u003cfigure id=\"attachment_12605441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg\" alt=\"Three jerseys are strung near the ceiling as part of the art installation "Shortening: Making the Irrational Rational on Tuesday, October 25, 2016. The letters on the back of the jersey are a scrambled version of "Off with his head," a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll's "Alice in Wonderland."\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three jerseys are strung near the ceiling as part of the art installation “Shortening: Making the Irrational Rational.” The letters on the back of the jersey are a scrambled version of “Off with his head,” a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll’s “Alice in Wonderland.” \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest art on Alcatraz\u003c/h3>\n\u003cp>Saiers isn’t the first artist to use Alcatraz as a platform to speak out against unfair incarceration.\u003c/p>\n\u003cp>For example, in 2012, a group of Bay Area artists staged a choreographed dance film at Alcatraz called \u003ca href=\"https://vimeo.com/52877758\" target=\"_blank\" rel=\"noopener\">\u003cem>Well Contested Sites\u003c/em>\u003c/a>. They were attracted by the site’s complex history of activism and incarceration as well as its physical incongruity as both an old, decrepit prison and one of the world’s most scenic tourist attractions.\u003c/p>\n\u003cp>“What happens all too often is that these beautiful places become distant places of oppression for certain people,” says Reggie Daniels, one of several artists involved in the film who was previously incarcerated. “So while other people are experiencing the beauty, there are people who are experiencing these dreadful harms and living and suffering with a very harsh quality of life in beautiful spaces like San Francisco.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/52877758\" width=\"800\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003ca href=\"https://vimeo.com/52877758\">Well Contested Sites\u003c/a> from \u003ca href=\"https://vimeo.com/raptproductions\">Rapt Productions\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Perhaps the most well-known recent example of art activism on Alcatraz was \u003ca href=\"https://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003cem>@Large\u003c/em>\u003c/a>, a 2014-15 exhibition designed by the famous Chinese artist Ai Wei Wei. \u003cem>@Large \u003c/em>explored what it means to be free and was seen by nearly 900,000 people during its seven month stay on the island.\u003c/p>\n\u003cp>“Alcatraz is a place of protest,” says Kate Bickert, who helps run the Golden Gate National Parks Conservancy’s \u003cem>Arts in the Parks\u003c/em> program. This program brought \u003cem>Shortening: Making the Irrational Rational \u003c/em>to The Rock.\u003c/p>\n\u003ch3>Drawing out the meaning\u003c/h3>\n\u003cp>Beyond historical symbolism, Saiers has a much more practical reason for staging his piece on Alcatraz: The setting helps bring out the meaning in a work that might otherwise seem abstract and impenetrable.\u003c/p>\n\u003cp>“Having the backdrop be Alcatraz would certainly point people in the direction that this is about prisons,” Saiers says. “Otherwise, you come in and see a room of football jerseys with strange numbers on it and duct tape and things like that, and you may not naturally think about prison sentences.”\u003c/p>\n\u003cp>Even with the Alcatraz hint, some people still don’t get it. A fair number of visitors do a quick loop through the installation without really stopping. But for some people, like Galen Tom of Fairfield, the unique setting helps the work click into place.\u003c/p>\n\u003cfigure id=\"attachment_12605454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605454 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg\" alt='Visitors at Alcatraz share their feelings about the art installation \"Shortening: Making the Irrational Rational.\" Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors at Alcatraz share their feelings about the art installation “Shortening: Making the Irrational Rational.” Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit. \u003ccite>(Photo: Courtesy of the National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, it really sends a message especially when you don’t get it at first and you think, ‘Oh, I’m in a prison and I’m going through it and these numbers represent people who have served years — some low some high — in drug related offenses,'” Tom says. “It definitely hits at home of understanding and seeing the gloom of the interior of this place.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://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>For more details about ‘Shortening on Alcatraz,’ \u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Nelson Saiers' abstract art installation on The Rock combines football jerseys, the number Pi and prison terms to protest lengthy sentences for nonviolent offenders.",
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"title": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Along the left side of a cold, gray cement building on Alcatraz Island, hundreds of colorful NFL jerseys suspended on clothesline hang limp in the cold air.\u003c/p>\n\u003cp>The building is about as long as a football field. Broken windows, peeling paint and the busted out remains of what used to be toilets line the walls. It looks like the dirtiest NFL pro shop imaginable, only the jerseys aren’t for sale. They’re art.\u003c/p>\n\u003cp>“It’s really about shortening irrationally long prison sentences that are too often given for nonviolent minor drug crimes,” says Nelson Saiers, the New York-based artist behind \u003cem>\u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">Shortening: Making the Irrational Rational\u003c/a>, \u003c/em>currently on display on Alcatraz through Sunday, Feb. 5.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/302155438″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/302155438″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The exhibition starts in the corner of the New Industries Building with a giant white “3” on a green piece of synthetic turf suspended from the ceiling. From there, the jerseys wind throughout the building, with the numbers on the back spelling out the first several hundred digits of the number pi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Pi is what’s called an irrational number which means it never ends nor repeats,” says the 41-year-old Saiers, who earned a Ph.D. in mathematics at the age of 23 and ran a hedge fund before becoming a full-time artist. “Now the way to turn it into a rational number is to shorten it. So that’s a very good metaphor for what needs to be done to these irrational prison sentences.”\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/3OcZYZTS6q8'\n title='//www.youtube.com/embed/3OcZYZTS6q8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Inspired by news headlines\u003c/h3>\n\u003cp>Saiers’ process began with the news of the death of Freddie Gray, a black man in Baltimore, who died while in police custody in the spring of 2015.\u003c/p>\n\u003cp>The incident provoked a discussion between Saiers and a friend about the ongoing issues between communities of color and police departments.\u003c/p>\n\u003cp>“And he said, ‘Well the number one thing they gotta get rid of is football numbers because it’s destroying families,” Saiers says of that conversation. “It’s destroying entire communities.'”\u003c/p>\n\u003cp>Saiers’ friend told him that “football numbers” referred to double-digit prison sentences.\u003c/p>\n\u003cp>“It comes from the idea that if you get 30 years or 44 years or 25 years, it’s a number that looks like a number on a football jersey,” Saiers says. “So the football jerseys hanging in the room point to that expression.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>California’s stance on long prison sentences\u003c/h3>\n\u003cp>Many of those double-digit sentences for nonviolent drug crimes date back to tough on crime laws like California’s 1994 “Three Strikes” Law, which established mandatory long prison sentences for repeat offenders.\u003c/p>\n\u003cp>But those sentences have become less common in recent years. Two recent ballot measures — 2012’s Proposition 36 and 2014’s Proposition 47 — as well as Governor Jerry Brown’s prison realignment plan passed in 2011, were all designed in part to reduce the kinds of long prison terms Saiers protests in his work.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2012/11/12/prop-36-may-release-felons-from-prison-but-how-many/\" target=\"_blank\" rel=\"noopener\">Proposition 36\u003c/a> amended the 1994 Three Strikes Law to establish more lenient sentencing for nonviolent offenders, and \u003ca href=\"https://ww2.kqed.org/news/2015/08/22/proposition-47-gives-former-felons-a-new-chance/\" target=\"_blank\" rel=\"noopener\">Proposition 47\u003c/a> reclassified some nonviolent drug offenses from felonies down to misdemeanors. Both measures included opportunities for offenders already behind bars to appeal and potentially reduce their current sentences. \u003ca href=\"https://ww2.kqed.org/news/2016/09/29/five-years-later-many-see-criminal-justice-realignment-as-success/\" target=\"_blank\" rel=\"noopener\">Realignment\u003c/a> called for moving some nonviolent offenders, including those with drug convictions, out of state prisons and into county jails.\u003c/p>\n\u003cfigure id=\"attachment_12605440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605440 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg\" alt='A football jersey is strung on hemp rope as part of the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A football jersey is strung on hemp rope as part of the art installation “Shortening: Making the Irrational Rational”. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even with all of that progress — plus the possibility of even more reduced sentences after the passage last November of \u003ca href=\"http://elections.kqed.org/article/11076610/6-ways-recreational-pot-would-change-california-and-7-ways-it-wouldnt\" target=\"_blank\" rel=\"noopener\">Proposition 64\u003c/a> legalizing recreational marijuana — this is not a settled issue.\u003c/p>\n\u003cp>“While those changes have happened and continue to happen, you will still find people in state prison who are serving long sentences, life sentences,” says Krissi Khokhobashvili, spokeswoman for the California Department of Corrections and Rehabilitation.\u003c/p>\n\u003ch3>The many layers of \u003cem>Shortening\u003c/em>\u003c/h3>\n\u003cp>The complexities of Saiers’ artwork go beyond football jerseys and the number pi. For example, the piece also relates to the storied history of Alcatraz.\u003c/p>\n\u003cfigure id=\"attachment_12605438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg\" alt='Black duct tape covers up the term \"Redskins\" on a football jersey at the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black duct tape covers up the term “Redskins” on a football jersey at the art installation “Shortening: Making the Irrational Rational”. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saiers repeatedly pays homage in the exhibition to the Native American presence on The Rock. He put duct tape over jerseys emblazoned with the word “Redskins” to “mute” what he sees as a derogatory term. The numbers on those jerseys — 19 and 89 — also reflect the Native American occupation of Alcatraz, where 89 Native Americans held the island for 19 months between Nov. 1969 and Jun. 1971 — an action that helped give birth to the modern Native American civil rights movement.\u003c/p>\n\u003cfigure id=\"attachment_12605439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605439 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg\" alt=\"A white number 11 Chicago Bears jersey with the name "Capone" is strung up as part of the art installation "Shortening: Making the Irrational Rational" at Alcatraz on Tuesday, October 25, 2016. According to the artist, the smaller Capone jersey signifies that Capone's sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A white number 11 Chicago Bears jersey with the name “Capone” is strung up as part of the art installation “Shortening: Making the Irrational Rational” on Alcatraz. According to the artist, the smaller Capone jersey signifies that Capone’s sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also references famous Alcatraz inmates like Chicago mob boss Al Capone and Robert Stroud (better known as the Birdman of Alcatraz). Saiers says the numbers on the jerseys of bird-related teams (Eagles, Ravens, Seahawks, Cardinals, etc.) add up to 594, which was Stroud’s inmate number at Alcatraz.\u003c/p>\n\u003cp>In the same vein, most of the Chicago Bears jerseys show number 85, representing Capone, who wore that number while imprisoned on Alcatraz. Saiers says this number 11 jersey with Capone’s name on the back represents the crime boss’ 11-year prison sentence for tax evasion. He says the jersey is smaller than all the others because Capone’s is an example of a sentence that should’ve been lengthened instead of shortened.\u003c/p>\n\u003cfigure id=\"attachment_12605441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg\" alt=\"Three jerseys are strung near the ceiling as part of the art installation "Shortening: Making the Irrational Rational on Tuesday, October 25, 2016. The letters on the back of the jersey are a scrambled version of "Off with his head," a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll's "Alice in Wonderland."\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three jerseys are strung near the ceiling as part of the art installation “Shortening: Making the Irrational Rational.” The letters on the back of the jersey are a scrambled version of “Off with his head,” a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll’s “Alice in Wonderland.” \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest art on Alcatraz\u003c/h3>\n\u003cp>Saiers isn’t the first artist to use Alcatraz as a platform to speak out against unfair incarceration.\u003c/p>\n\u003cp>For example, in 2012, a group of Bay Area artists staged a choreographed dance film at Alcatraz called \u003ca href=\"https://vimeo.com/52877758\" target=\"_blank\" rel=\"noopener\">\u003cem>Well Contested Sites\u003c/em>\u003c/a>. They were attracted by the site’s complex history of activism and incarceration as well as its physical incongruity as both an old, decrepit prison and one of the world’s most scenic tourist attractions.\u003c/p>\n\u003cp>“What happens all too often is that these beautiful places become distant places of oppression for certain people,” says Reggie Daniels, one of several artists involved in the film who was previously incarcerated. “So while other people are experiencing the beauty, there are people who are experiencing these dreadful harms and living and suffering with a very harsh quality of life in beautiful spaces like San Francisco.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/52877758\" width=\"800\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003ca href=\"https://vimeo.com/52877758\">Well Contested Sites\u003c/a> from \u003ca href=\"https://vimeo.com/raptproductions\">Rapt Productions\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Perhaps the most well-known recent example of art activism on Alcatraz was \u003ca href=\"https://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003cem>@Large\u003c/em>\u003c/a>, a 2014-15 exhibition designed by the famous Chinese artist Ai Wei Wei. \u003cem>@Large \u003c/em>explored what it means to be free and was seen by nearly 900,000 people during its seven month stay on the island.\u003c/p>\n\u003cp>“Alcatraz is a place of protest,” says Kate Bickert, who helps run the Golden Gate National Parks Conservancy’s \u003cem>Arts in the Parks\u003c/em> program. This program brought \u003cem>Shortening: Making the Irrational Rational \u003c/em>to The Rock.\u003c/p>\n\u003ch3>Drawing out the meaning\u003c/h3>\n\u003cp>Beyond historical symbolism, Saiers has a much more practical reason for staging his piece on Alcatraz: The setting helps bring out the meaning in a work that might otherwise seem abstract and impenetrable.\u003c/p>\n\u003cp>“Having the backdrop be Alcatraz would certainly point people in the direction that this is about prisons,” Saiers says. “Otherwise, you come in and see a room of football jerseys with strange numbers on it and duct tape and things like that, and you may not naturally think about prison sentences.”\u003c/p>\n\u003cp>Even with the Alcatraz hint, some people still don’t get it. A fair number of visitors do a quick loop through the installation without really stopping. But for some people, like Galen Tom of Fairfield, the unique setting helps the work click into place.\u003c/p>\n\u003cfigure id=\"attachment_12605454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605454 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg\" alt='Visitors at Alcatraz share their feelings about the art installation \"Shortening: Making the Irrational Rational.\" Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors at Alcatraz share their feelings about the art installation “Shortening: Making the Irrational Rational.” Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit. \u003ccite>(Photo: Courtesy of the National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, it really sends a message especially when you don’t get it at first and you think, ‘Oh, I’m in a prison and I’m going through it and these numbers represent people who have served years — some low some high — in drug related offenses,'” Tom says. “It definitely hits at home of understanding and seeing the gloom of the interior of this place.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://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>For more details about ‘Shortening on Alcatraz,’ \u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ghost Ship Fire Prompts SFFD to Consider Random Warehouse Inspections",
"title": "Ghost Ship Fire Prompts SFFD to Consider Random Warehouse Inspections",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The fire that killed 36 people in an artist collective in Oakland last month has led top San Francisco fire officials to contemplate randomly inspecting the city's nearly 1,000 warehouses for safety violations, a possibility strongly rejected by artist and tenant advocates.\u003c/p>\n\u003cp>San Francisco Fire Marshal Dan De Cossio \u003ca href=\"http://www.sfexaminer.com/sf-orders-3-warehouses-vacate-following-ghost-ship-fire/\" target=\"_blank\">revealed \u003c/a>that since the Ghost Ship warehouse fire, the department has issued \"orders to vacate\" to residents they say were living illegally and dangerously in three warehouses.\u003c/p>\n\u003cp>\"Our mandate here is to keep people safe in buildings,\" De Cossio said during a Fire Commission meeting on Wednesday.\u003c/p>\n\u003cp>\"We need to be careful not to give a false sense of security to people that are living in buildings that were not permitted for that use,\" De Cossio said. \"I think it would be irresponsible for us, if we thought there was an event in a specific building, that there would most likely be fatalities, for us not to take action.\"\u003c/p>\n\u003cp>His remarks come as artists in the Bay Area and around the country have repeatedly \u003ca href=\"https://ww2.kqed.org/forum/2016/12/14/after-the-ghost-ship-fire-whats-next-for-bay-area-artists-regulations-and-safety/\" target=\"_blank\">expressed fear\u003c/a> that safety crackdowns prompted by the Dec. 2 Ghost Ship fire would lead to members of their communities getting evicted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Ghost Ship warehouse in Oakland's Fruitvale neighborhood was not permitted as a living space.\u003c/p>\n\u003cp>Two of the San Francisco buildings that received notices are located in the city's South of Market neighborhood and one was on Potrero Hill, according to department spokesman Jonathan Baxter. The notices were all issued in the two weeks after the Oakland blaze.\u003c/p>\n\u003cp>Fire officials believe the orders affected up to 24 people, Baxter said Thursday. He was not aware if any of them were artists.\u003c/p>\n\u003cp>The vacate orders came after the department received 15 complaints about warehouse safety problems, according to De Cossio. The buildings that received them had \"deficient\" exits or lacked proper permits, he said.\u003c/p>\n\u003cp>Currently, according to fire officials, inspections and any resulting orders are strictly complaint-driven.\u003c/p>\n\u003cp>At Wednesday's meeting, San Francisco Fire Commissioner Ken Cleveland suggested a more aggressive inspection protocol to De Cossio \"just to put the community on notice,\" Cleveland said.\u003c/p>\n\u003cp>\"We could do random,\" De Cossio said. \"We are open to that idea.\"\u003c/p>\n\u003cp>After the Ghost Ship blaze, fire officials discussed the idea of random inspections, according to Fire Chief Joanne Hayes-White. \"There's competing feelings about that,\" she acknowledged.\u003c/p>\n\u003cp>\"When we say 'notice to vacate' it is our opinion that it is unsafe, and they should vacate,\" Hayes-White said. \"There are entities that feel that other solutions should be offered instead of putting someone right out there on the street.\"\u003c/p>\n\u003cp>The Fire Department would need to work with other city agencies before moving forward on random warehouse inspections, she said.\u003c/p>\n\u003cp>A change in warehouse inspection policy, which would require reforms to local code, is a bad idea, according to Randy Shaw, a longtime tenant activist who directs the Tenderloin Housing Clinic.\u003c/p>\n\u003cp>\"A random sweep is not a good use of resources and is particularly worrisome,\" Shaw said Thursday. \"The city should not embark on this plan.\"\u003c/p>\n\u003cp>Artist advocates agree.\u003c/p>\n\u003cp>\"The government cracking down on artists' spaces, causing confusion, fear and potentially evictions and displacement, is not the way to make the city safe for artists,\" said Spike Kahn, director and founder of the Pacific Felt Factory arts complex, which has more than a dozen artist studios.\u003c/p>\n\u003cp>\"Fire safety is important, but so is having a place to sleep inside and out of the rain,\" Kahn said Thursday.\u003c/p>\n\u003cp>The city should help fund work to bring warehouses up to code and keep the spaces affordable, Kahn said. She is calling for the creation of a task force involving community artists and city officials to help create ways to prevent artist evictions and keep their current homes safe.\u003c/p>\n\u003cp>\"We cannot allow the city to kick people out of buildings where they live and work,\" Kahn said. \"They are not in unsafe buildings because they want to be. They have no choice ... in one of the most expensive cities in the world.\"\u003c/p>\n\u003cp>That balance is something Oakland Mayor Libby Schaaf tried to strike on Wednesday. Schaaf issued an \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" target=\"_blank\">executive order\u003c/a> aimed at bringing non-permitted residential spaces into compliance with city law while minimizing displacement.\u003c/p>\n\u003cp>San Francisco is looking into similar solutions, according to Debra Walker, vice president of the Building Inspection Commission and also an artist.\u003c/p>\n\u003cp>In the short term, city agencies should try to avoid tactics that lead to people getting displaced from unauthorized warehouses, Walker said. Long term, the city should come up with reforms that could potentially legalize them and make them safer, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Nobody wants anything to happen close to what happened at Ghost Ship,\" Walker said.\u003c/p>\n\n",
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"excerpt": "Since last month's devastating conflagration in Oakland, SFFD has issued 'orders to vacate' to residents in three warehouses. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fire that killed 36 people in an artist collective in Oakland last month has led top San Francisco fire officials to contemplate randomly inspecting the city's nearly 1,000 warehouses for safety violations, a possibility strongly rejected by artist and tenant advocates.\u003c/p>\n\u003cp>San Francisco Fire Marshal Dan De Cossio \u003ca href=\"http://www.sfexaminer.com/sf-orders-3-warehouses-vacate-following-ghost-ship-fire/\" target=\"_blank\">revealed \u003c/a>that since the Ghost Ship warehouse fire, the department has issued \"orders to vacate\" to residents they say were living illegally and dangerously in three warehouses.\u003c/p>\n\u003cp>\"Our mandate here is to keep people safe in buildings,\" De Cossio said during a Fire Commission meeting on Wednesday.\u003c/p>\n\u003cp>\"We need to be careful not to give a false sense of security to people that are living in buildings that were not permitted for that use,\" De Cossio said. \"I think it would be irresponsible for us, if we thought there was an event in a specific building, that there would most likely be fatalities, for us not to take action.\"\u003c/p>\n\u003cp>His remarks come as artists in the Bay Area and around the country have repeatedly \u003ca href=\"https://ww2.kqed.org/forum/2016/12/14/after-the-ghost-ship-fire-whats-next-for-bay-area-artists-regulations-and-safety/\" target=\"_blank\">expressed fear\u003c/a> that safety crackdowns prompted by the Dec. 2 Ghost Ship fire would lead to members of their communities getting evicted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Ghost Ship warehouse in Oakland's Fruitvale neighborhood was not permitted as a living space.\u003c/p>\n\u003cp>Two of the San Francisco buildings that received notices are located in the city's South of Market neighborhood and one was on Potrero Hill, according to department spokesman Jonathan Baxter. The notices were all issued in the two weeks after the Oakland blaze.\u003c/p>\n\u003cp>Fire officials believe the orders affected up to 24 people, Baxter said Thursday. He was not aware if any of them were artists.\u003c/p>\n\u003cp>The vacate orders came after the department received 15 complaints about warehouse safety problems, according to De Cossio. The buildings that received them had \"deficient\" exits or lacked proper permits, he said.\u003c/p>\n\u003cp>Currently, according to fire officials, inspections and any resulting orders are strictly complaint-driven.\u003c/p>\n\u003cp>At Wednesday's meeting, San Francisco Fire Commissioner Ken Cleveland suggested a more aggressive inspection protocol to De Cossio \"just to put the community on notice,\" Cleveland said.\u003c/p>\n\u003cp>\"We could do random,\" De Cossio said. \"We are open to that idea.\"\u003c/p>\n\u003cp>After the Ghost Ship blaze, fire officials discussed the idea of random inspections, according to Fire Chief Joanne Hayes-White. \"There's competing feelings about that,\" she acknowledged.\u003c/p>\n\u003cp>\"When we say 'notice to vacate' it is our opinion that it is unsafe, and they should vacate,\" Hayes-White said. \"There are entities that feel that other solutions should be offered instead of putting someone right out there on the street.\"\u003c/p>\n\u003cp>The Fire Department would need to work with other city agencies before moving forward on random warehouse inspections, she said.\u003c/p>\n\u003cp>A change in warehouse inspection policy, which would require reforms to local code, is a bad idea, according to Randy Shaw, a longtime tenant activist who directs the Tenderloin Housing Clinic.\u003c/p>\n\u003cp>\"A random sweep is not a good use of resources and is particularly worrisome,\" Shaw said Thursday. \"The city should not embark on this plan.\"\u003c/p>\n\u003cp>Artist advocates agree.\u003c/p>\n\u003cp>\"The government cracking down on artists' spaces, causing confusion, fear and potentially evictions and displacement, is not the way to make the city safe for artists,\" said Spike Kahn, director and founder of the Pacific Felt Factory arts complex, which has more than a dozen artist studios.\u003c/p>\n\u003cp>\"Fire safety is important, but so is having a place to sleep inside and out of the rain,\" Kahn said Thursday.\u003c/p>\n\u003cp>The city should help fund work to bring warehouses up to code and keep the spaces affordable, Kahn said. She is calling for the creation of a task force involving community artists and city officials to help create ways to prevent artist evictions and keep their current homes safe.\u003c/p>\n\u003cp>\"We cannot allow the city to kick people out of buildings where they live and work,\" Kahn said. \"They are not in unsafe buildings because they want to be. They have no choice ... in one of the most expensive cities in the world.\"\u003c/p>\n\u003cp>That balance is something Oakland Mayor Libby Schaaf tried to strike on Wednesday. Schaaf issued an \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" target=\"_blank\">executive order\u003c/a> aimed at bringing non-permitted residential spaces into compliance with city law while minimizing displacement.\u003c/p>\n\u003cp>San Francisco is looking into similar solutions, according to Debra Walker, vice president of the Building Inspection Commission and also an artist.\u003c/p>\n\u003cp>In the short term, city agencies should try to avoid tactics that lead to people getting displaced from unauthorized warehouses, Walker said. Long term, the city should come up with reforms that could potentially legalize them and make them safer, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Nobody wants anything to happen close to what happened at Ghost Ship,\" Walker said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland Mayor Libby Schaaf issued an executive order Wednesday intended to increase safety at unpermitted live-work spaces while not displacing their tenants, a move designed to calm the artist community in the wake of the deadly Ghost Ship fire last month.\u003c/p>\n\u003cp>“\u003ca href=\"http://www2.oaklandnet.com/w/OAK062364\" target=\"_blank\" rel=\"noopener\">Executive Order 2017-1: Improving Safety of Non-Permitted Spaces While Avoiding Displacement\u003c/a>” requires the owners of existing buildings that are not permitted for residents and or don’t conform to codes must make a plan with city officials within 60 days to correct the space’s issues. Owners are also asked to not displace tenants in those buildings if none of its code violations are life-threatening.\u003c/p>\n\u003cp>“Buildings in Oakland should be safe places to live, work and play. In the wake of the Ghost Ship tragedy, unpermitted living, assembly and work spaces are under heightened scrutiny,” said Mayor Schaaf in a statement on the \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/pressrelease/oak062365.pdf\" target=\"_blank\" rel=\"noopener\">city’s website\u003c/a>. “We must unite as a City to improve the safety of non-permitted spaces while also working to avoid displacing vulnerable community members.”\u003c/p>\n\u003cp>On Dec. 2, a fire inside a two-story warehouse space called the Ghost Ship \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">killed 36 people\u003c/a> who were attending an experimental electronic show in the upper level of the building. In the aftermath, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art/\" target=\"_blank\" rel=\"noopener\">a large community of artists living\u003c/a> in similar spaces express concerned that property owners could use the incident to force out their tenants, leaving them homeless. In the wake of the fire, residents of warehouse spaces (also known as “warehomes”) were evicted in \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/burnt-ramen-long-running-underground-venue-in-richmond-shut-down/\" target=\"_blank\" rel=\"noopener\">Richmond, Philadelphia and other cities\u003c/a>.\u003c/p>\n\u003cp>With this order, it appears Schaaf is trying to appease the local artist community who have been calling for action, but warehome residents like journalist Sam Lefebvre (a KQED freelancer) said they’re not convinced the order is strong enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Seems to direct owners of unpermitted residences to enter into compliance plan w city w/o actually safeguarding against resultant evictions,” Lefebvre \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/819331561669570561\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>.\u003c/p>\n\u003cp>The mayor also called for a special meeting of the Oakland City Council for Jan. 17 — next Tuesday — to approve amendments to the city’s C\u003ca href=\"http://www2.oaklandnet.com/government/o/hcd/s/HSC/DOWD008655\" target=\"_blank\" rel=\"noopener\">ode Enforcement Relocation Program\u003c/a>, which provides assistance to residents displaced by their landlord’s code violations.\u003c/p>\n\u003cp>The order also follows the mayor’s $1.7 million-pledge to create and sustain affordable, safe spaces for local artists and organizations. The mayor proposed the \u003ca href=\"http://cast-sf.org/keeping-space-oakland/\" target=\"_blank\" rel=\"noopener\">“Keeping Space” initiative\u003c/a> less than a week after the fire, to help groups facing displacement with financial and technical assistance. The program will also provide grants to help those same organizations acquire property. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as we learn them.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland Mayor Libby Schaaf issued an executive order Wednesday intended to increase safety at unpermitted live-work spaces while not displacing their tenants, a move designed to calm the artist community in the wake of the deadly Ghost Ship fire last month.\u003c/p>\n\u003cp>“\u003ca href=\"http://www2.oaklandnet.com/w/OAK062364\" target=\"_blank\" rel=\"noopener\">Executive Order 2017-1: Improving Safety of Non-Permitted Spaces While Avoiding Displacement\u003c/a>” requires the owners of existing buildings that are not permitted for residents and or don’t conform to codes must make a plan with city officials within 60 days to correct the space’s issues. Owners are also asked to not displace tenants in those buildings if none of its code violations are life-threatening.\u003c/p>\n\u003cp>“Buildings in Oakland should be safe places to live, work and play. In the wake of the Ghost Ship tragedy, unpermitted living, assembly and work spaces are under heightened scrutiny,” said Mayor Schaaf in a statement on the \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/pressrelease/oak062365.pdf\" target=\"_blank\" rel=\"noopener\">city’s website\u003c/a>. “We must unite as a City to improve the safety of non-permitted spaces while also working to avoid displacing vulnerable community members.”\u003c/p>\n\u003cp>On Dec. 2, a fire inside a two-story warehouse space called the Ghost Ship \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">killed 36 people\u003c/a> who were attending an experimental electronic show in the upper level of the building. In the aftermath, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art/\" target=\"_blank\" rel=\"noopener\">a large community of artists living\u003c/a> in similar spaces express concerned that property owners could use the incident to force out their tenants, leaving them homeless. In the wake of the fire, residents of warehouse spaces (also known as “warehomes”) were evicted in \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/burnt-ramen-long-running-underground-venue-in-richmond-shut-down/\" target=\"_blank\" rel=\"noopener\">Richmond, Philadelphia and other cities\u003c/a>.\u003c/p>\n\u003cp>With this order, it appears Schaaf is trying to appease the local artist community who have been calling for action, but warehome residents like journalist Sam Lefebvre (a KQED freelancer) said they’re not convinced the order is strong enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Seems to direct owners of unpermitted residences to enter into compliance plan w city w/o actually safeguarding against resultant evictions,” Lefebvre \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/819331561669570561\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>.\u003c/p>\n\u003cp>The mayor also called for a special meeting of the Oakland City Council for Jan. 17 — next Tuesday — to approve amendments to the city’s C\u003ca href=\"http://www2.oaklandnet.com/government/o/hcd/s/HSC/DOWD008655\" target=\"_blank\" rel=\"noopener\">ode Enforcement Relocation Program\u003c/a>, which provides assistance to residents displaced by their landlord’s code violations.\u003c/p>\n\u003cp>The order also follows the mayor’s $1.7 million-pledge to create and sustain affordable, safe spaces for local artists and organizations. The mayor proposed the \u003ca href=\"http://cast-sf.org/keeping-space-oakland/\" target=\"_blank\" rel=\"noopener\">“Keeping Space” initiative\u003c/a> less than a week after the fire, to help groups facing displacement with financial and technical assistance. The program will also provide grants to help those same organizations acquire property. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as we learn them.\u003c/i>\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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