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"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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"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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"disqusTitle": "New Film Wants Your Hopes and Fears Before Trump’s Inauguration",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.73dayslater.com/\">\u003cstrong>\"73 Days Later\"\u003c/strong> \u003c/a>is a new, largely crowdsourced documentary film for which Americans can record their perspectives about the incoming Donald Trump administration, and \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\" target=\"_blank\">submit them to the filmmakers\u003c/a>. We spoke with the film's San Francisco-based director, Maxwell Salvati.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302276805\" 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>\u003cstrong>Why the title \"73 Days Later?\"\u003c/strong>\u003c/p>\n\u003cp>We're covering everything from Election Day through the inauguration. We wanted to capture an accurate portrait of the country in the 73 days.\u003c/p>\n\u003cp>\u003cstrong>Why did you want to tackle this project?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Honestly, I didn't come up with the idea until halfway through election night, when I got a bit of a wake-up call. I thought I knew the narrative of our country. I was wrong. I decided to embark on making a film to kind of re-color my spectrum of understanding of who we were. To really listen and communicate and actually tune in with the pulse of our country.\u003c/p>\n\u003cp>I grew up in Los Angeles, went to college in Boston and live in San Francisco. As much as I'd like to say that I'm pretty accepting and knowledgeable of the large swaths of our country, I've lived in bubbles. This project was my way to try and give an accurate portrait of our country in this period to anyone and everyone who wants a platform to share their voice so we can start to communicate and become more united and less divided as a nation. This was my way of beginning that conversation.\u003c/p>\n\u003cp>\u003cstrong>So you’ve got a \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\">website where people can submit videos\u003c/a> from their smartphones or computers between now and Jan. 20, and you’ve got a team of filmmakers doing some interviews as well. Then somehow you’ll stitch them together into a cohesive narrative?\u003c/strong>\u003c/p>\n\u003cp>That's the goal. We are running full force right now with filmmakers and submissions. The narrative of this film has been a little bit elusive. Every week, every cabinet choice, every event that we film, every rally, every film, every protest, every submission we get, it shifts a little bit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EDCdZ6u42n8\u003c/p>\n\u003cp>\u003cstrong>What questions are you asking people to answer in these videos?\u003c/strong>\u003c/p>\n\u003cp>One of the questions that has been the most engaging for me has been, 'If you could give Donald Trump one piece of advice, what would it be?' The primary answer from all parties, all affiliations, so far, has been to listen. I think that's one of the most common threads. Everyone, even if they're a Donald Trump supporter or their passionately against him, they don't think he listens. They really want him to step back and just be a little bit more careful with the people and the voices and the lives in this country.\u003c/p>\n\u003cp>Robert Rosendary is doing a thing called the \u003ca href=\"http://savingourfuture.com/2016/12/robert-rosendary-patriots-walk-across-america/\">Patriot Walk\u003c/a>, walking from California to Washington in the 73 days from election to inauguration. He's staunchly Republican and conservative, and he's been very critical of President Barack Obama. And he wants to listen, he wants to hear all perspectives. So it's quite aligned with the goals for our project. We both want to unite, we both want to listen. And we want to do our small part in bringing our country to a place where we can communicate and empathize with each other to get closer.\u003c/p>\n\u003cp>It's an unprecedented time, and it's important that we capture it honestly and carefully, and with the best intentions in mind, which is what we're doing with the film.\u003c/p>\n\u003cp>\u003cstrong>This is supposed to be a nonpartisan, unbiased film. You and the other filmmakers are based in San Francisco, a progressive city, in a state that voted overwhelmingly for Hillary Clinton. Are you worried that may skew the perspectives of the film?\u003c/strong>\u003c/p>\n\u003cp>I'm not worried that it's going to skew it. We've had multiple instances where, as soon as I've done interviews in the streets, people will ask if we're with team Trump. Because we've become so objective in our questioning, and I've been able to check my beliefs at the door.\u003c/p>\n\u003cp>\u003cstrong>I can imagine it would be really cathartic for people participating, getting interviewed or interviewing themselves for this film -- but what are you hoping the viewer will take away from it?\u003c/strong>\u003c/p>\n\u003cp>I'm hoping the film we make allows people to really assess whether or not they have been open and accepting and truly listening. Hearing people about their struggles, their strifes, their fears, their worries, their sorrows. Regardless of political affiliation, everyone wants the same common goal of happiness, and love, and safety, and warmth. And we all have different ways of going about that.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11265063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/73Days-800x801.jpg\" alt=\"73days\" width=\"800\" height=\"801\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-520x521.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In conducting these interviews and seeing the submissions, I can see that and I can feel that. And I'm changed already, in a massive way. I interact with people day to day so much more open and in the moment and present. I hope that same sentiment resonates with people if they see this film at home in the movie theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The filmmakers will continue to collect submissions and footage through Jan. 20 and hope to release the film soon after.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.73dayslater.com/\">\u003cstrong>\"73 Days Later\"\u003c/strong> \u003c/a>is a new, largely crowdsourced documentary film for which Americans can record their perspectives about the incoming Donald Trump administration, and \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\" target=\"_blank\">submit them to the filmmakers\u003c/a>. We spoke with the film's San Francisco-based director, Maxwell Salvati.\u003c/em>\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/302276805&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/302276805'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why the title \"73 Days Later?\"\u003c/strong>\u003c/p>\n\u003cp>We're covering everything from Election Day through the inauguration. We wanted to capture an accurate portrait of the country in the 73 days.\u003c/p>\n\u003cp>\u003cstrong>Why did you want to tackle this project?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Honestly, I didn't come up with the idea until halfway through election night, when I got a bit of a wake-up call. I thought I knew the narrative of our country. I was wrong. I decided to embark on making a film to kind of re-color my spectrum of understanding of who we were. To really listen and communicate and actually tune in with the pulse of our country.\u003c/p>\n\u003cp>I grew up in Los Angeles, went to college in Boston and live in San Francisco. As much as I'd like to say that I'm pretty accepting and knowledgeable of the large swaths of our country, I've lived in bubbles. This project was my way to try and give an accurate portrait of our country in this period to anyone and everyone who wants a platform to share their voice so we can start to communicate and become more united and less divided as a nation. This was my way of beginning that conversation.\u003c/p>\n\u003cp>\u003cstrong>So you’ve got a \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\">website where people can submit videos\u003c/a> from their smartphones or computers between now and Jan. 20, and you’ve got a team of filmmakers doing some interviews as well. Then somehow you’ll stitch them together into a cohesive narrative?\u003c/strong>\u003c/p>\n\u003cp>That's the goal. We are running full force right now with filmmakers and submissions. The narrative of this film has been a little bit elusive. Every week, every cabinet choice, every event that we film, every rally, every film, every protest, every submission we get, it shifts a little bit.\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/EDCdZ6u42n8'\n title='//www.youtube.com/embed/EDCdZ6u42n8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What questions are you asking people to answer in these videos?\u003c/strong>\u003c/p>\n\u003cp>One of the questions that has been the most engaging for me has been, 'If you could give Donald Trump one piece of advice, what would it be?' The primary answer from all parties, all affiliations, so far, has been to listen. I think that's one of the most common threads. Everyone, even if they're a Donald Trump supporter or their passionately against him, they don't think he listens. They really want him to step back and just be a little bit more careful with the people and the voices and the lives in this country.\u003c/p>\n\u003cp>Robert Rosendary is doing a thing called the \u003ca href=\"http://savingourfuture.com/2016/12/robert-rosendary-patriots-walk-across-america/\">Patriot Walk\u003c/a>, walking from California to Washington in the 73 days from election to inauguration. He's staunchly Republican and conservative, and he's been very critical of President Barack Obama. And he wants to listen, he wants to hear all perspectives. So it's quite aligned with the goals for our project. We both want to unite, we both want to listen. And we want to do our small part in bringing our country to a place where we can communicate and empathize with each other to get closer.\u003c/p>\n\u003cp>It's an unprecedented time, and it's important that we capture it honestly and carefully, and with the best intentions in mind, which is what we're doing with the film.\u003c/p>\n\u003cp>\u003cstrong>This is supposed to be a nonpartisan, unbiased film. You and the other filmmakers are based in San Francisco, a progressive city, in a state that voted overwhelmingly for Hillary Clinton. Are you worried that may skew the perspectives of the film?\u003c/strong>\u003c/p>\n\u003cp>I'm not worried that it's going to skew it. We've had multiple instances where, as soon as I've done interviews in the streets, people will ask if we're with team Trump. Because we've become so objective in our questioning, and I've been able to check my beliefs at the door.\u003c/p>\n\u003cp>\u003cstrong>I can imagine it would be really cathartic for people participating, getting interviewed or interviewing themselves for this film -- but what are you hoping the viewer will take away from it?\u003c/strong>\u003c/p>\n\u003cp>I'm hoping the film we make allows people to really assess whether or not they have been open and accepting and truly listening. Hearing people about their struggles, their strifes, their fears, their worries, their sorrows. Regardless of political affiliation, everyone wants the same common goal of happiness, and love, and safety, and warmth. And we all have different ways of going about that.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11265063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/73Days-800x801.jpg\" alt=\"73days\" width=\"800\" height=\"801\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-520x521.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In conducting these interviews and seeing the submissions, I can see that and I can feel that. And I'm changed already, in a massive way. I interact with people day to day so much more open and in the moment and present. I hope that same sentiment resonates with people if they see this film at home in the movie theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The filmmakers will continue to collect submissions and footage through Jan. 20 and hope to release the film soon after.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>A community writing workshop in San Diego has just published the new collection \u003ca href=\"http://www.cityworkspress.org/books.html\">“Reclaiming our Stories.”\u003c/a> It features first-person narratives from 19 emerging writers, many of them current or former community college students who have struggled with homelessness, gangs or childhood trauma. The project grew out of an effort at Pillars of the Community, an organization dedicated to helping those affected by the criminal justice system. The California Report’s Sasha Khokha spoke with two of the book’s contributors, who also read from their work.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/301966017″ 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>Beto Vasquez was once a high school dropout, and has overcome homelessness, incarceration and addiction, and managed to change the trajectory of his life. Beto recently graduated from UCSD, obtaining a master’s degree in biology. He ultimately plans to fulfill a doctoral degree and pursue a career as a community college administrator. He says his life has been a journey “from cells to cells,” that is, from living in them to studying them. He is an educational advocate for marginalized groups and a great proponent of diversity in STEM fields.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/301970997″ 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>Wilnisha “Tru7h” Sutton was raised in San Diego and is currently focused on her music career and activism. She’s paid a high price for her past misdemeanor charges: She recently lost a job as a teacher’s aide because her background check didn’t clear within the three-day time frame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Beto, you were one of the first to join the community storytelling workshops about a year and a half ago. What drew you to the idea of learning to write your own story?\u003c/strong>\u003c/p>\n\u003cp>Being a lifelong learner and trying so many things that didn’t work out, I’ve just been on this trend of challenging myself. Learning how to be comfortable being uncomfortable. The writing group really provided me an opportunity to step out of my comfort zone, and ended up being really therapeutic for me.\u003c/p>\n\u003cp>\u003cstrong>You spent most of your life incarcerated, and now, you’ve pursued your master’s in biology at UC San Diego. The story you wrote explores how you turned your life around, and includes an encounter you had in the research lab. What does it mean to you to put this kind of story down on the page, to see it in print?\u003c/strong>\u003c/p>\n\u003cp>Being able to share such a minute instance in my life, such a small detail, with other folks, is huge. Sometimes it’s just our own insecurities, those few small moments that we’ve had that can make or break us. Overcoming the obstacles that I’ve overcome, being able to totally change the trajectory of my life, can hopefully serve as an example to people who already doubt themselves, who’ve been told they’re never going to be anything.\u003c/p>\n\u003cp>\u003cstrong>Tru7h, as a teenager in San Diego, you got caught up with a man who was a pimp. What was it like to revisit those painful moments and share them in a writing workshop with people you didn’t know?\u003c/strong>\u003c/p>\n\u003cp>It was very tough, to see my mistakes right in front of me. Actually, I’ve changed a lot, but at the same time, I guess I had to really deal with it head-on. To search myself, and to forgive myself, and that I love myself. It was tough, but at the same time, it was beautiful.\u003c/p>\n\u003cp>\u003cstrong>When I think of San Diego, I think beaches, SeaWorld, the U.S.-Mexico border. How do you think these ideas challenge the idea most Californians have of your city?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: People think we’re just living the life out here because of our weather. But it’s a struggle. The cost of living is very high. In Southeast San Diego, a lot of us are struggling just to make ends meet.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: For people who just have this image of San Diego as being 70 degrees all year round and everything’s perfect, we need to put a little more humanity into that. We have a large homeless population here because of that great weather, but they’re not being served. We have pockets of gentrification, where people are being displaced. But we also have our fair share of folks who care, who have the resilience and tenacity to take it a step forward to do something about it. This book is just the beginning.\u003c/p>\n\u003cp>\u003cstrong>What’s the most surprising thing you learned from listening to or reading the other stories in this book? There’s a big range, from a Muslim woman who was homeless as a child in San Diego, to a teen who watched his brother get arrested by a SWAT team\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: For me, it was just the struggle for what a lot of people are dealing with in our community. Southeast San Diego, the area we live in, our people have been through a lot. But they’re survivors. They’re willing to put it on paper, and be free.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: Growing up in a rough neighborhood, growing up as a male, growing up with privilege that you’re sometimes not aware of. It’s really tricky being able to step outside of that, taking in what the hardships are that other people that don’t look like you, or perhaps that even grew up in the same neighborhoods as you. That’s really what this book is doing: allowing us the opportunity to crack that open, normalizing situations, normalizing lifestyles, normalizing making mistakes.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: It also brought us closer as a community. When we see each other now, it’s like, OK, now, it’s my brother, my sister. I know a little bit of your story, your struggle. I could trust these people with my story, my secrets, and yet you still love me, you’re still here for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Beto, you were one of the first to join the community storytelling workshops about a year and a half ago. What drew you to the idea of learning to write your own story?\u003c/strong>\u003c/p>\n\u003cp>Being a lifelong learner and trying so many things that didn’t work out, I’ve just been on this trend of challenging myself. Learning how to be comfortable being uncomfortable. The writing group really provided me an opportunity to step out of my comfort zone, and ended up being really therapeutic for me.\u003c/p>\n\u003cp>\u003cstrong>You spent most of your life incarcerated, and now, you’ve pursued your master’s in biology at UC San Diego. The story you wrote explores how you turned your life around, and includes an encounter you had in the research lab. What does it mean to you to put this kind of story down on the page, to see it in print?\u003c/strong>\u003c/p>\n\u003cp>Being able to share such a minute instance in my life, such a small detail, with other folks, is huge. Sometimes it’s just our own insecurities, those few small moments that we’ve had that can make or break us. Overcoming the obstacles that I’ve overcome, being able to totally change the trajectory of my life, can hopefully serve as an example to people who already doubt themselves, who’ve been told they’re never going to be anything.\u003c/p>\n\u003cp>\u003cstrong>Tru7h, as a teenager in San Diego, you got caught up with a man who was a pimp. What was it like to revisit those painful moments and share them in a writing workshop with people you didn’t know?\u003c/strong>\u003c/p>\n\u003cp>It was very tough, to see my mistakes right in front of me. Actually, I’ve changed a lot, but at the same time, I guess I had to really deal with it head-on. To search myself, and to forgive myself, and that I love myself. It was tough, but at the same time, it was beautiful.\u003c/p>\n\u003cp>\u003cstrong>When I think of San Diego, I think beaches, SeaWorld, the U.S.-Mexico border. How do you think these ideas challenge the idea most Californians have of your city?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: People think we’re just living the life out here because of our weather. But it’s a struggle. The cost of living is very high. In Southeast San Diego, a lot of us are struggling just to make ends meet.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: For people who just have this image of San Diego as being 70 degrees all year round and everything’s perfect, we need to put a little more humanity into that. We have a large homeless population here because of that great weather, but they’re not being served. We have pockets of gentrification, where people are being displaced. But we also have our fair share of folks who care, who have the resilience and tenacity to take it a step forward to do something about it. This book is just the beginning.\u003c/p>\n\u003cp>\u003cstrong>What’s the most surprising thing you learned from listening to or reading the other stories in this book? There’s a big range, from a Muslim woman who was homeless as a child in San Diego, to a teen who watched his brother get arrested by a SWAT team\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: For me, it was just the struggle for what a lot of people are dealing with in our community. Southeast San Diego, the area we live in, our people have been through a lot. But they’re survivors. They’re willing to put it on paper, and be free.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: Growing up in a rough neighborhood, growing up as a male, growing up with privilege that you’re sometimes not aware of. It’s really tricky being able to step outside of that, taking in what the hardships are that other people that don’t look like you, or perhaps that even grew up in the same neighborhoods as you. That’s really what this book is doing: allowing us the opportunity to crack that open, normalizing situations, normalizing lifestyles, normalizing making mistakes.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: It also brought us closer as a community. When we see each other now, it’s like, OK, now, it’s my brother, my sister. I know a little bit of your story, your struggle. I could trust these people with my story, my secrets, and yet you still love me, you’re still here for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Decades ago, George Lucas chose the Bay Area as the base for his film empire — but today, he chose Exposition Park in Los Angeles as the new home for his Museum of Narrative Art.\u003c/p>\n\u003cp>“We have been humbled by the overwhelmingly positive support we received from both San Francisco and Los Angeles,” said the Lucas Museum Board of Directors in a statement issued this afternoon. “Settling on a location proved to be an extremely difficult decision precisely because of the desirability of both sites and cities.”\u003c/p>\n\u003cfigure id=\"attachment_12609186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12609186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lucas-Museum-800x400.jpg\" alt=\"A concept design of the Lucas Museum at its future location in South Los Angeles\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A concept design of the Lucas Museum at its future location in South Los Angeles. \u003ccite>(Photo: Courtesy of the Lucas Museum of Narrative Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am disappointed,” San Francisco Mayor Ed Lee said in a statement. But he added, “I am pleased that the museum will be built in California for our state’s residents to some day enjoy.”\u003c/p>\n\u003cp>The museum board extended a special thanks to Lee and the San Francisco Board of Supervisors “for their tremendous efforts and engagement.”\u003c/p>\n\u003cp>Lucas first offered his museum to San Francisco, on the condition that he be allowed to build it at a site overlooking Crissy Field. But the museum design was rejected by the Presidio Trust. Then Lucas set his sights on Chicago, his wife’s hometown, and ran into legal challenges there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco then offered Lucas another prime piece of real estate, on Treasure Island. Lucas would have paid $23 million for the site, accessible only by bridge or ferry. Instead he chose a site in South Los Angeles in Exposition Park for which he’ll pay just $20 a year.\u003c/p>\n\u003cp>John Stewart’s company manages market-rate apartments on Treasure Island. “No, he didn’t,” Stewart said when informed about Lucas’ decision. “Oh God. No.”\u003c/p>\n\u003cp>Stewart said he’s disappointed at Lucas’ choice, since the museum would have enhanced ferry ridership to and from the island, and boosted the island’s potential for retail and restaurant business.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lucas and his board say they hope to open the museum by 2020.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decades ago, George Lucas chose the Bay Area as the base for his film empire — but today, he chose Exposition Park in Los Angeles as the new home for his Museum of Narrative Art.\u003c/p>\n\u003cp>“We have been humbled by the overwhelmingly positive support we received from both San Francisco and Los Angeles,” said the Lucas Museum Board of Directors in a statement issued this afternoon. “Settling on a location proved to be an extremely difficult decision precisely because of the desirability of both sites and cities.”\u003c/p>\n\u003cfigure id=\"attachment_12609186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12609186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lucas-Museum-800x400.jpg\" alt=\"A concept design of the Lucas Museum at its future location in South Los Angeles\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lucas-Museum.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A concept design of the Lucas Museum at its future location in South Los Angeles. \u003ccite>(Photo: Courtesy of the Lucas Museum of Narrative Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am disappointed,” San Francisco Mayor Ed Lee said in a statement. But he added, “I am pleased that the museum will be built in California for our state’s residents to some day enjoy.”\u003c/p>\n\u003cp>The museum board extended a special thanks to Lee and the San Francisco Board of Supervisors “for their tremendous efforts and engagement.”\u003c/p>\n\u003cp>Lucas first offered his museum to San Francisco, on the condition that he be allowed to build it at a site overlooking Crissy Field. But the museum design was rejected by the Presidio Trust. Then Lucas set his sights on Chicago, his wife’s hometown, and ran into legal challenges there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco then offered Lucas another prime piece of real estate, on Treasure Island. Lucas would have paid $23 million for the site, accessible only by bridge or ferry. Instead he chose a site in South Los Angeles in Exposition Park for which he’ll pay just $20 a year.\u003c/p>\n\u003cp>John Stewart’s company manages market-rate apartments on Treasure Island. “No, he didn’t,” Stewart said when informed about Lucas’ decision. “Oh God. No.”\u003c/p>\n\u003cp>Stewart said he’s disappointed at Lucas’ choice, since the museum would have enhanced ferry ridership to and from the island, and boosted the island’s potential for retail and restaurant business.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lucas and his board say they hope to open the museum by 2020.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A high school student’s painting of Ferguson, Missouri, with the image of a pig in a police uniform aiming a gun at a protester is back on the wall on Capitol Hill.\u003c/p>\n\u003cp>Rep. William Lacy Clay, D-Mo., rehung the painting on Tuesday after a Republican lawmaker found it offensive and removed it. Joined by several lawmakers, including other members of the Congressional Black Caucus, Clay said returning the painting was about defending the Constitution.\u003c/p>\n\u003cp>“I do not agree or disagree with this painting,” Clay said. “But I will fight to defend this young man’s right to express himself because his artwork is true for him and he is entitled to that protection under the law.”\u003c/p>\n\u003cp>David Pulphus, 18, won an annual arts competition in Clay’s congressional district. His picture portrays events in Ferguson after the shooting of an unarmed teenager set off protests. Rep. Duncan Hunter, R-Calif., removed the painting last Friday and returned it to Clay’s office.\u003c/p>\n\u003cp>After Clay restored the painting, Rep. Doug Lamborn, R-Colo., removed it again and took it to Clay’s office. Clay put it back up again, this time without the fanfare of a press conference.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He brought it to my office and I took it back and told him he had no authority to remove the painting,” Clay said, adding that he would return the painting each time it is removed.\u003c/p>\n\u003cp>The Missouri congressman said it is “pathetic” that some Republicans and “alt-right media types” constantly refer to themselves as constitutional conservatives, but don’t think the same document protects the free-speech rights of his constituent.\u003c/p>\n\u003cp>The painting showed a police officer taking aim with signs saying “history” and “stop kill.” The police officer has an elongated face with tusks, much like a razorback pig. The background includes the Gateway Arch in St. Louis and a young black man looking out from prison bars. One of the figures also appears to show a protester as a wolf.\u003c/p>\n\u003cp>A hallway between a House office building and the Capitol is filled with winning artwork from students around the country.\u003c/p>\n\u003cp>Some police organizations cheered Hunter’s actions.\u003c/p>\n\u003cp>Hunter dismissed the free-speech argument and said GOP leaders will seek to have the architect of the Capitol remove the painting.\u003c/p>\n\u003cp>“You can’t have offensive things in the U.S. Capitol. It violated the arts competition rules,” Hunter said.\u003c/p>\n\u003cp>Clay said he’s ready to have that debate. He said there are numerous works of art around the Capitol that he and his constituents find offensive. He specifically cited a portrait of the late Sen. James Eastland of Mississippi, a staunch segregationist, and statues of Robert E. Lee and Jefferson Davis, leaders of the Confederate States of America during the Civil War.\u003c/p>\n\u003cp>Rep. Cedric Richmond, D-La., said Hunter was seeking to deflect from his own ethical woes. The House Ethics Committee is looking into possible violations, and the lawmaker had to explain last week after spending $600 in campaign funds to fly a pet rabbit with his family. Hunter later repaid the money as part of more than $60,000 in questionable charges to his campaign. Some of the charges included stays at resorts, video games and a garage door, the San Diego Union-Tribune has reported.\u003c/p>\n\u003cp>“Any crisis manager will tell you, if you want them to stop talking about your ethics, create another issue. Unfortunately, he picked on an 18-year-old, gifted artist to create his diversion,” Richmond said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hunter pointed out that other GOP lawmakers took offense to the painting as well.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A high school student’s painting of Ferguson, Missouri, with the image of a pig in a police uniform aiming a gun at a protester is back on the wall on Capitol Hill.\u003c/p>\n\u003cp>Rep. William Lacy Clay, D-Mo., rehung the painting on Tuesday after a Republican lawmaker found it offensive and removed it. Joined by several lawmakers, including other members of the Congressional Black Caucus, Clay said returning the painting was about defending the Constitution.\u003c/p>\n\u003cp>“I do not agree or disagree with this painting,” Clay said. “But I will fight to defend this young man’s right to express himself because his artwork is true for him and he is entitled to that protection under the law.”\u003c/p>\n\u003cp>David Pulphus, 18, won an annual arts competition in Clay’s congressional district. His picture portrays events in Ferguson after the shooting of an unarmed teenager set off protests. Rep. Duncan Hunter, R-Calif., removed the painting last Friday and returned it to Clay’s office.\u003c/p>\n\u003cp>After Clay restored the painting, Rep. Doug Lamborn, R-Colo., removed it again and took it to Clay’s office. Clay put it back up again, this time without the fanfare of a press conference.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He brought it to my office and I took it back and told him he had no authority to remove the painting,” Clay said, adding that he would return the painting each time it is removed.\u003c/p>\n\u003cp>The Missouri congressman said it is “pathetic” that some Republicans and “alt-right media types” constantly refer to themselves as constitutional conservatives, but don’t think the same document protects the free-speech rights of his constituent.\u003c/p>\n\u003cp>The painting showed a police officer taking aim with signs saying “history” and “stop kill.” The police officer has an elongated face with tusks, much like a razorback pig. The background includes the Gateway Arch in St. Louis and a young black man looking out from prison bars. One of the figures also appears to show a protester as a wolf.\u003c/p>\n\u003cp>A hallway between a House office building and the Capitol is filled with winning artwork from students around the country.\u003c/p>\n\u003cp>Some police organizations cheered Hunter’s actions.\u003c/p>\n\u003cp>Hunter dismissed the free-speech argument and said GOP leaders will seek to have the architect of the Capitol remove the painting.\u003c/p>\n\u003cp>“You can’t have offensive things in the U.S. Capitol. It violated the arts competition rules,” Hunter said.\u003c/p>\n\u003cp>Clay said he’s ready to have that debate. He said there are numerous works of art around the Capitol that he and his constituents find offensive. He specifically cited a portrait of the late Sen. James Eastland of Mississippi, a staunch segregationist, and statues of Robert E. Lee and Jefferson Davis, leaders of the Confederate States of America during the Civil War.\u003c/p>\n\u003cp>Rep. Cedric Richmond, D-La., said Hunter was seeking to deflect from his own ethical woes. The House Ethics Committee is looking into possible violations, and the lawmaker had to explain last week after spending $600 in campaign funds to fly a pet rabbit with his family. Hunter later repaid the money as part of more than $60,000 in questionable charges to his campaign. Some of the charges included stays at resorts, video games and a garage door, the San Diego Union-Tribune has reported.\u003c/p>\n\u003cp>“Any crisis manager will tell you, if you want them to stop talking about your ethics, create another issue. Unfortunately, he picked on an 18-year-old, gifted artist to create his diversion,” Richmond said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hunter pointed out that other GOP lawmakers took offense to the painting as well.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the face of it, the opera and drag might not seem to have much in common. But in fact, cross-dressing and gender fluidity have been part of both art forms for as long as they have been in existence.\u003c/p>\n\u003cp>That’s why it made sense when the \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> reached out to Heklina, one of the Bay Area’s preeminent drag artists and the owner of \u003ca href=\"http://sfoasis.com/\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a> nightclub in SOMA, about collaborating on an \u003ca href=\"http://sfopera.com/sfoperalab/season-two/sf-opera-lab-pop-up/\" target=\"_blank\" rel=\"noopener\">event\u003c/a>.\u003c/p>\n\u003cp>“Some of the first drag queens were in opera,” Heklina says. “So I’m really excited to see the singers in the context of Oasis.”\u003c/p>\n\u003cp>Our video delves into the shared history of the two art forms, and captures the spirit of Oasis and SF Opera’s one-time, pop-up drag opera soiree, held at Oasis on Sunday, Oct. 30, 2016.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more about the connection between opera and drag, read Charlise Tiee’s \u003ca href=\"https://ww2.kqed.org/arts/2016/10/28/drag-queen-heklina-pops-her-opera-cherry/\" target=\"_blank\" rel=\"noopener\">recent article\u003c/a> for KQED Arts.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, the opera and drag might not seem to have much in common. But in fact, cross-dressing and gender fluidity have been part of both art forms for as long as they have been in existence.\u003c/p>\n\u003cp>That’s why it made sense when the \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> reached out to Heklina, one of the Bay Area’s preeminent drag artists and the owner of \u003ca href=\"http://sfoasis.com/\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a> nightclub in SOMA, about collaborating on an \u003ca href=\"http://sfopera.com/sfoperalab/season-two/sf-opera-lab-pop-up/\" target=\"_blank\" rel=\"noopener\">event\u003c/a>.\u003c/p>\n\u003cp>“Some of the first drag queens were in opera,” Heklina says. “So I’m really excited to see the singers in the context of Oasis.”\u003c/p>\n\u003cp>Our video delves into the shared history of the two art forms, and captures the spirit of Oasis and SF Opera’s one-time, pop-up drag opera soiree, held at Oasis on Sunday, Oct. 30, 2016.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more about the connection between opera and drag, read Charlise Tiee’s \u003ca href=\"https://ww2.kqed.org/arts/2016/10/28/drag-queen-heklina-pops-her-opera-cherry/\" target=\"_blank\" rel=\"noopener\">recent article\u003c/a> for KQED Arts.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">William and Flora Hewlett Foundation\u003c/a> is celebrating its 50th anniversary by giving millions of dollars to Bay Area organizations for the purpose of making more art.\u003c/p>\n\u003cp>The Hewlett Foundation announced its \u003ca href=\"http://hewlett.org/50Commissions\" target=\"_blank\" rel=\"noopener\">\u003cem>Hewlett 50 Arts Commission\u003c/em>\u003c/a> Tuesday — a five-year, $8-million initiative aimed at commissioning “50 exceptional works of performing arts.”\u003c/p>\n\u003cp>Starting this year, 10 grants per year will be awarded to local nonprofits that work with artists to create new work. The nonprofits applying for the grant program do not need to be arts organizations themselves. For example, an environmental conservation organization might commission a site-specific musical piece to premiere in a regional park.\u003c/p>\n\u003cp>Each year the grant-making will focus on a different performing arts discipline: music, theater, dance, folk and traditional arts, and film and media. This year, the \u003cem>Hewlett 50 Arts Commission\u003c/em> is accepting applications for music compositions.\u003c/p>\n\u003ch3>A major initiative\u003c/h3>\n\u003cp>The new program is one of the largest initiatives of its kind in the United States. But as John E. McGuirk, the director of Hewlett’s performing arts program, puts it: “You don’t turn 50 every day.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We thought that the commissions were a good way to honor the foundation’s long commitment to supporting vibrant performing arts as well as local communities,” McGuirk says. “Bill and Flora Hewlett were devoted to the arts here in the Bay Area, and we’ve continued that commitment for our entire 50-year history.”\u003c/p>\n\u003cp>The Hewlett Foundation has a long legacy of supporting arts organizations. The San Francisco Symphony was one of the first beneficiaries of a Hewlett Foundation grant, in 1967. (KQED was another recipient that first year.) Since then, the foundation has given more than $330 million to support the performing arts in the Bay Area, providing an average of $17 million each year to hundreds of local organizations.\u003c/p>\n\u003ch3>Sizeable grants\u003c/h3>\n\u003cp>The new initiative will hand out grants of around $160,000 apiece. That’s a significant size for an arts grant, according to Marc Vogl, a consultant to nonprofits working in the arts.\u003c/p>\n\u003cp>“Nationally, fewer people are attending live performances in every discipline, and a key reason is that they’re not seeing thrilling, daring work on the stage and in the concert halls,” Vogl says. “This initiative may have many positive impacts. Betting big on artists to make work that brings audiences in the door to see something original is particularly inspiring.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Applications for the first round of grant-making are due by Saturday, Apr. 14, 2017. Nonprofit organizations seeking to apply must be based in one of the 11 Bay Area counties. For more information, visit \u003ca href=\"http://www.hewlett.org/50Commissions\" target=\"_blank\" rel=\"noopener\">hewlett.org/50Commissions\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">William and Flora Hewlett Foundation\u003c/a> is celebrating its 50th anniversary by giving millions of dollars to Bay Area organizations for the purpose of making more art.\u003c/p>\n\u003cp>The Hewlett Foundation announced its \u003ca href=\"http://hewlett.org/50Commissions\" target=\"_blank\" rel=\"noopener\">\u003cem>Hewlett 50 Arts Commission\u003c/em>\u003c/a> Tuesday — a five-year, $8-million initiative aimed at commissioning “50 exceptional works of performing arts.”\u003c/p>\n\u003cp>Starting this year, 10 grants per year will be awarded to local nonprofits that work with artists to create new work. The nonprofits applying for the grant program do not need to be arts organizations themselves. For example, an environmental conservation organization might commission a site-specific musical piece to premiere in a regional park.\u003c/p>\n\u003cp>Each year the grant-making will focus on a different performing arts discipline: music, theater, dance, folk and traditional arts, and film and media. This year, the \u003cem>Hewlett 50 Arts Commission\u003c/em> is accepting applications for music compositions.\u003c/p>\n\u003ch3>A major initiative\u003c/h3>\n\u003cp>The new program is one of the largest initiatives of its kind in the United States. But as John E. McGuirk, the director of Hewlett’s performing arts program, puts it: “You don’t turn 50 every day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We thought that the commissions were a good way to honor the foundation’s long commitment to supporting vibrant performing arts as well as local communities,” McGuirk says. “Bill and Flora Hewlett were devoted to the arts here in the Bay Area, and we’ve continued that commitment for our entire 50-year history.”\u003c/p>\n\u003cp>The Hewlett Foundation has a long legacy of supporting arts organizations. The San Francisco Symphony was one of the first beneficiaries of a Hewlett Foundation grant, in 1967. (KQED was another recipient that first year.) Since then, the foundation has given more than $330 million to support the performing arts in the Bay Area, providing an average of $17 million each year to hundreds of local organizations.\u003c/p>\n\u003ch3>Sizeable grants\u003c/h3>\n\u003cp>The new initiative will hand out grants of around $160,000 apiece. That’s a significant size for an arts grant, according to Marc Vogl, a consultant to nonprofits working in the arts.\u003c/p>\n\u003cp>“Nationally, fewer people are attending live performances in every discipline, and a key reason is that they’re not seeing thrilling, daring work on the stage and in the concert halls,” Vogl says. “This initiative may have many positive impacts. Betting big on artists to make work that brings audiences in the door to see something original is particularly inspiring.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Applications for the first round of grant-making are due by Saturday, Apr. 14, 2017. Nonprofit organizations seeking to apply must be based in one of the 11 Bay Area counties. For more information, visit \u003ca href=\"http://www.hewlett.org/50Commissions\" target=\"_blank\" rel=\"noopener\">hewlett.org/50Commissions\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">Thrillpeddlers,\u003c/a> the South of Market theater company that has specialized in horror and high camp for 26 years, will likely produce its last show in February. Russell Blackwood, the company founder and producing director, learned on New Year’s Day that the owners of the Hypnodrome, Thrillpeddlers’ custom built theater, had sold the building.\u003c/p>\n\u003cp>The new owner, Blackwood said, runs a furniture showroom which was recently priced out of the San Francisco Design Center.\u003c/p>\n\u003cp>Thrillpeddlers specializes in revivals of gory 19th century \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Guignol\" target=\"_blank\" rel=\"noopener\">Grand Guignol plays\u003c/a>, which often spatter fake blood on audience members, alongside revivals of work first produced by the \u003ca href=\"http://www.cockettes.com/\" target=\"_blank\" rel=\"noopener\">Cockettes,\u003c/a> a drag theater troupe founded in the 1970s. “There is an underground aspect, and a sex-positive aspect that belonged South of Market and in the Folsom,” Blackwood says.\u003c/p>\n\u003cp>But despite the gory and sexually-charged content of most of the company’s shows, Blackwood aims to be inclusive. “I saw this as being a community theater,” he says.\u003c/p>\n\u003cfigure id=\"attachment_12604268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12604268 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg\" alt=\"Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers \u003ccite>(Photo: David Allen/Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackwood also runs a kids’ theater workshop, \u003cem>Creepshow Camp\u003c/em>, to teach younger devotees how to stage science fiction and horror shows of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the company’s sole employee, Blackwood says he’s not sure he wants to keep Thrillpeddlers going if it means moving to another space. He loves the intimacy of the 45-seat Hypnodrome. And he says he’s equipped the theater with special features designed to frighten audiences at the company’s annual Halloween \u003cem>Shocktoberfest\u003c/em> shows, including a realistic-looking guillotine.\u003c/p>\n\u003cp>Blackwood isn’t mad at his landlords. “These gentlemen are our benefactors,” He says. “The rent was always well below market rate, and their relationship with us has been like family.”\u003c/p>\n\u003cp>Thrillpeddlers is going out in typical style with a series of nude readings of the fantastical writings of H. P. Lovecraft — \u003cem>\u003ca href=\"http://www.hypnodrome.org/\" target=\"_blank\" rel=\"noopener\">Naked Dudes Reading Lovecraft\u003c/a> — \u003c/em>and a semi-staged concert of the new musical \u003cem>Amazon Apocalypse — or How the Devil Came to Save the Planet\u003c/em>, plus two benefit variety shows and a rummage sale of props and costumes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked for an epitaph for the company, Blackwood says he’d like the Thrillpeddlers tombstone to say, “They were the San Francisco you moved here to meet.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">Thrillpeddlers,\u003c/a> the South of Market theater company that has specialized in horror and high camp for 26 years, will likely produce its last show in February. Russell Blackwood, the company founder and producing director, learned on New Year’s Day that the owners of the Hypnodrome, Thrillpeddlers’ custom built theater, had sold the building.\u003c/p>\n\u003cp>The new owner, Blackwood said, runs a furniture showroom which was recently priced out of the San Francisco Design Center.\u003c/p>\n\u003cp>Thrillpeddlers specializes in revivals of gory 19th century \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Guignol\" target=\"_blank\" rel=\"noopener\">Grand Guignol plays\u003c/a>, which often spatter fake blood on audience members, alongside revivals of work first produced by the \u003ca href=\"http://www.cockettes.com/\" target=\"_blank\" rel=\"noopener\">Cockettes,\u003c/a> a drag theater troupe founded in the 1970s. “There is an underground aspect, and a sex-positive aspect that belonged South of Market and in the Folsom,” Blackwood says.\u003c/p>\n\u003cp>But despite the gory and sexually-charged content of most of the company’s shows, Blackwood aims to be inclusive. “I saw this as being a community theater,” he says.\u003c/p>\n\u003cfigure id=\"attachment_12604268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12604268 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg\" alt=\"Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers \u003ccite>(Photo: David Allen/Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackwood also runs a kids’ theater workshop, \u003cem>Creepshow Camp\u003c/em>, to teach younger devotees how to stage science fiction and horror shows of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the company’s sole employee, Blackwood says he’s not sure he wants to keep Thrillpeddlers going if it means moving to another space. He loves the intimacy of the 45-seat Hypnodrome. And he says he’s equipped the theater with special features designed to frighten audiences at the company’s annual Halloween \u003cem>Shocktoberfest\u003c/em> shows, including a realistic-looking guillotine.\u003c/p>\n\u003cp>Blackwood isn’t mad at his landlords. “These gentlemen are our benefactors,” He says. “The rent was always well below market rate, and their relationship with us has been like family.”\u003c/p>\n\u003cp>Thrillpeddlers is going out in typical style with a series of nude readings of the fantastical writings of H. P. Lovecraft — \u003cem>\u003ca href=\"http://www.hypnodrome.org/\" target=\"_blank\" rel=\"noopener\">Naked Dudes Reading Lovecraft\u003c/a> — \u003c/em>and a semi-staged concert of the new musical \u003cem>Amazon Apocalypse — or How the Devil Came to Save the Planet\u003c/em>, plus two benefit variety shows and a rummage sale of props and costumes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked for an epitaph for the company, Blackwood says he’d like the Thrillpeddlers tombstone to say, “They were the San Francisco you moved here to meet.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>La La Land\u003c/em> steamrolled through a Jimmy Fallon-hosted Golden Globes that mixed the expected, Champagne-sipping Hollywood celebration with often-voiced concern over president-elect Donald Trump.\u003c/p>\n\u003cp>Though \u003cem>La La Land\u003c/em> dominated with seven awards, including best motion picture, comedy or musical, the night’s final award went to Barry Jenkins’ tender coming of age drama \u003cem>Moonlight\u003c/em>. Its sole award was for best motion picture, drama.\u003c/p>\n\u003cp>But Meryl Streep, the Cecil B. DeMille Award honoree, supplied Sunday evening’s most striking moment: a rebuke to Trump that stirred the Beverly Hilton Hotel crowd. Streep, who spoke at the Democratic National Convention, called the president-elect’s mocking of a disabled reporter the year’s performance that most “stunned her.”\u003c/p>\n\u003cp>Arguing for the multinational makeup of Hollywood, Streep listed off the far-flung homes of stars from Dev Patel to Ryan Gosling.\u003c/p>\n\u003cp>“Hollywood is crawling with outsiders and foreigners and if you kick them all out, you’ll have nothing to watch but football and mixed martial arts, which are not the arts,” Streep said to loud applause.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Damien Chazelle’s Los Angeles musical \u003cem>La La Land\u003c/em> came in with a leading seven nominations, and won everything it was nominated for, including best film, musical or comedy. Chazelle won both best director and best screenplay. Gosling won best actor in a comedy or musical, as did Emma Stone for best actress. It also took best score (Justin Hurwitz) and best song for “City of Stars.”\u003c/p>\n\u003cp>“I’m in in daze now, officially,” said Chazelle accepting his award for directing.\u003c/p>\n\u003cp>On one of the evening’s more emotional acceptance speeches, Gosling dedicated his award to the late brother of his partner, Eva Mendes.\u003c/p>\n\u003cp>“While I was singing and dancing and playing piano and having one of the best experiences I’ve ever had on a film, my lady was raising our daughter, pregnant with our second and trying to help her brother fight his battle with cancer,” said Gosling, referring to Juan Carlos Mendes.\u003c/p>\n\u003cp>The Beverly Hills, California, ceremony got off to a rocky start, with a broken teleprompter initially froze Fallon. “Cut to Justin Timberlake, please,” implored a desperately improvising Fallon. It was the second fiasco for Globes producer Dick Clark Productions, which presented the infamous Mariah Carey flub on New Year’s Eve.\u003c/p>\n\u003cp>The \u003cem>Tonight Show\u003c/em> host started the show with a cold open ode to \u003cem>La La Land\u003c/em> in a lavish sketch more typical of the Academy Awards than the Globes. Fallon did a version of the film’s opening dance scene, with starry cameos from Timberlake, previous Globes host Tina Fey, Amy Adams and the white Ford Bronco of \u003cem>The People v. O.J. Simpson\u003c/em>.\u003c/p>\n\u003cp>In a more truncated monologue, Fallon’s sharpest barbs weren’t directed at the stars in the room (as was the style of frequent host Ricky Gervais) but president-elect Trump. He compared Trump to the belligerent teenage king Joffrey of \u003cem>Games of Thrones\u003c/em>. His first line (at least once the teleprompter was up) was introducing the Globes as “one of the few places left where America still honors the popular vote.”\u003c/p>\n\u003cp>That, though, isn’t quite true. The Hollywood Foreign Press Association, a collection of 85 members, has its own methods of selecting winners. Best supporting actress winner Viola Davis, the co-star of Denzel Washington’s August Wilson adaptation \u003cem>Fences\u003c/em>, alluded to the group’s reputation for being wined and dined.\u003c/p>\n\u003cp>“I took all the pictures, went to luncheon,” said Davis, to knowing chuckles through the ballroom, as she clutched her award. “But it’s right on time.”\u003c/p>\n\u003cp>Davis continued what appears to be a certain path to the Oscar. Another favorite, Casey Affleck, also padded his favorite status. The \u003cem>Manchester by the Sea\u003c/em> star took best actor.\u003c/p>\n\u003cp>Coming a year after a second-straight of #OscarsSoWhite protests, the night was notable for the widespread diversity of its winners, in film and TV. Donald Glover’s \u003cem>Atlanta\u003c/em> won best comedy series over heavyweights like \u003cem>Veep\u003c/em> and \u003cem>Transparent\u003c/em>, and Glover later added best actor in a comedy. Glover looked visibly surprised.\u003c/p>\n\u003cp>“I really want to thank Atlanta and all the black folks in Atlanta,” said Glover. “I couldn’t be here without Atlanta.”\u003c/p>\n\u003cp>Tracee Ellis Ross, accepting the award for best actress in a TV comedy for \u003cem>Black-ish\u003c/em>, dedicated her award to “all of the women of color and colorful people whose stories, ideas, thoughts are not always considered worthy and valid and important.”\u003c/p>\n\u003cp>“I want you to know that I see you, we see you,” said Ross.\u003c/p>\n\u003cp>And a true Oscar showdown was never in the offing at the Globes. Since the show separates drama from comedy and musical,\u003cem> La La Land\u003c/em> didn’t go face-to-face with its top competition, \u003cem>Moonlight\u003c/em> and \u003cem>Manchester by the Sea\u003c/em>, in top categories.\u003c/p>\n\u003cp>The British actor Aaron Taylor-Johnson took best supporting actor for his performance in Tom Ford’s \u003cem>Nocturnal Animals\u003c/em>. It was a surprise that Taylor-Johnson was even nominated, so his win over favorites Mahershala Ali from \u003cem>Moonlight\u003c/em> and Jeff Bridges from H\u003cem>ell or High Water\u003c/em> was a shock.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson\u003c/em> taking best miniseries, as well as an award for Sarah Paulson. But other winners were less prepared.\u003c/p>\n\u003cp>Hugh Laurie, star of \u003cem>The Night Manager\u003c/em>, looked even more surprised when he won best supporting actor in a limited series or TV film over the likes of John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>) and John Lithgow (\u003cem>The Crown\u003c/em>).\u003c/p>\n\u003cp>Laurie was one of the few early winners to pepper his acceptance speech with comments about Trump. “I accept this award on behalf of psychopathic billionaires everywhere,” he said. \u003cem>The Night Manager\u003c/em> won two more awards, including best actor for Tom Hiddleston.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul Verhoeven’s \u003cem>Elle\u003c/em> won best foreign language film. Disney’s \u003cem>Zootopia\u003c/em> took best animated feature.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>La La Land\u003c/em> steamrolled through a Jimmy Fallon-hosted Golden Globes that mixed the expected, Champagne-sipping Hollywood celebration with often-voiced concern over president-elect Donald Trump.\u003c/p>\n\u003cp>Though \u003cem>La La Land\u003c/em> dominated with seven awards, including best motion picture, comedy or musical, the night’s final award went to Barry Jenkins’ tender coming of age drama \u003cem>Moonlight\u003c/em>. Its sole award was for best motion picture, drama.\u003c/p>\n\u003cp>But Meryl Streep, the Cecil B. DeMille Award honoree, supplied Sunday evening’s most striking moment: a rebuke to Trump that stirred the Beverly Hilton Hotel crowd. Streep, who spoke at the Democratic National Convention, called the president-elect’s mocking of a disabled reporter the year’s performance that most “stunned her.”\u003c/p>\n\u003cp>Arguing for the multinational makeup of Hollywood, Streep listed off the far-flung homes of stars from Dev Patel to Ryan Gosling.\u003c/p>\n\u003cp>“Hollywood is crawling with outsiders and foreigners and if you kick them all out, you’ll have nothing to watch but football and mixed martial arts, which are not the arts,” Streep said to loud applause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Damien Chazelle’s Los Angeles musical \u003cem>La La Land\u003c/em> came in with a leading seven nominations, and won everything it was nominated for, including best film, musical or comedy. Chazelle won both best director and best screenplay. Gosling won best actor in a comedy or musical, as did Emma Stone for best actress. It also took best score (Justin Hurwitz) and best song for “City of Stars.”\u003c/p>\n\u003cp>“I’m in in daze now, officially,” said Chazelle accepting his award for directing.\u003c/p>\n\u003cp>On one of the evening’s more emotional acceptance speeches, Gosling dedicated his award to the late brother of his partner, Eva Mendes.\u003c/p>\n\u003cp>“While I was singing and dancing and playing piano and having one of the best experiences I’ve ever had on a film, my lady was raising our daughter, pregnant with our second and trying to help her brother fight his battle with cancer,” said Gosling, referring to Juan Carlos Mendes.\u003c/p>\n\u003cp>The Beverly Hills, California, ceremony got off to a rocky start, with a broken teleprompter initially froze Fallon. “Cut to Justin Timberlake, please,” implored a desperately improvising Fallon. It was the second fiasco for Globes producer Dick Clark Productions, which presented the infamous Mariah Carey flub on New Year’s Eve.\u003c/p>\n\u003cp>The \u003cem>Tonight Show\u003c/em> host started the show with a cold open ode to \u003cem>La La Land\u003c/em> in a lavish sketch more typical of the Academy Awards than the Globes. Fallon did a version of the film’s opening dance scene, with starry cameos from Timberlake, previous Globes host Tina Fey, Amy Adams and the white Ford Bronco of \u003cem>The People v. O.J. Simpson\u003c/em>.\u003c/p>\n\u003cp>In a more truncated monologue, Fallon’s sharpest barbs weren’t directed at the stars in the room (as was the style of frequent host Ricky Gervais) but president-elect Trump. He compared Trump to the belligerent teenage king Joffrey of \u003cem>Games of Thrones\u003c/em>. His first line (at least once the teleprompter was up) was introducing the Globes as “one of the few places left where America still honors the popular vote.”\u003c/p>\n\u003cp>That, though, isn’t quite true. The Hollywood Foreign Press Association, a collection of 85 members, has its own methods of selecting winners. Best supporting actress winner Viola Davis, the co-star of Denzel Washington’s August Wilson adaptation \u003cem>Fences\u003c/em>, alluded to the group’s reputation for being wined and dined.\u003c/p>\n\u003cp>“I took all the pictures, went to luncheon,” said Davis, to knowing chuckles through the ballroom, as she clutched her award. “But it’s right on time.”\u003c/p>\n\u003cp>Davis continued what appears to be a certain path to the Oscar. Another favorite, Casey Affleck, also padded his favorite status. The \u003cem>Manchester by the Sea\u003c/em> star took best actor.\u003c/p>\n\u003cp>Coming a year after a second-straight of #OscarsSoWhite protests, the night was notable for the widespread diversity of its winners, in film and TV. Donald Glover’s \u003cem>Atlanta\u003c/em> won best comedy series over heavyweights like \u003cem>Veep\u003c/em> and \u003cem>Transparent\u003c/em>, and Glover later added best actor in a comedy. Glover looked visibly surprised.\u003c/p>\n\u003cp>“I really want to thank Atlanta and all the black folks in Atlanta,” said Glover. “I couldn’t be here without Atlanta.”\u003c/p>\n\u003cp>Tracee Ellis Ross, accepting the award for best actress in a TV comedy for \u003cem>Black-ish\u003c/em>, dedicated her award to “all of the women of color and colorful people whose stories, ideas, thoughts are not always considered worthy and valid and important.”\u003c/p>\n\u003cp>“I want you to know that I see you, we see you,” said Ross.\u003c/p>\n\u003cp>And a true Oscar showdown was never in the offing at the Globes. Since the show separates drama from comedy and musical,\u003cem> La La Land\u003c/em> didn’t go face-to-face with its top competition, \u003cem>Moonlight\u003c/em> and \u003cem>Manchester by the Sea\u003c/em>, in top categories.\u003c/p>\n\u003cp>The British actor Aaron Taylor-Johnson took best supporting actor for his performance in Tom Ford’s \u003cem>Nocturnal Animals\u003c/em>. It was a surprise that Taylor-Johnson was even nominated, so his win over favorites Mahershala Ali from \u003cem>Moonlight\u003c/em> and Jeff Bridges from H\u003cem>ell or High Water\u003c/em> was a shock.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson\u003c/em> taking best miniseries, as well as an award for Sarah Paulson. But other winners were less prepared.\u003c/p>\n\u003cp>Hugh Laurie, star of \u003cem>The Night Manager\u003c/em>, looked even more surprised when he won best supporting actor in a limited series or TV film over the likes of John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>) and John Lithgow (\u003cem>The Crown\u003c/em>).\u003c/p>\n\u003cp>Laurie was one of the few early winners to pepper his acceptance speech with comments about Trump. “I accept this award on behalf of psychopathic billionaires everywhere,” he said. \u003cem>The Night Manager\u003c/em> won two more awards, including best actor for Tom Hiddleston.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul Verhoeven’s \u003cem>Elle\u003c/em> won best foreign language film. Disney’s \u003cem>Zootopia\u003c/em> took best animated feature.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Hip-Hop Dance Craze Born in Fresno: Popping",
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"content": "\u003cp>Remember \u003ca href=\"http://soultrain.com/\">“Soul Train”\u003c/a>? The show billed itself as the “hippest trip in America, 60 non-stop minutes across the tracks of your mind.”\u003c/p>\n\u003cp>Flashback to 1979, when the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=qkc8YduPnOM\" target=\"_blank\" rel=\"noopener\">made their first appearance\u003c/a> dancing to the Bar-Kays.\u003c/p>\n\u003cp>Host Don Cornelius introduces the dance crew, saying: “These very creative young men have invented a dancing style that’s becoming very popular, and it’s described as popping or boogaloo.”\u003c/p>\n\u003cp>Sammy Solomon introduces himself as “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/the-story-of-boogaloo-sam-as-told-by-izel-gaye/\">Boogaloo Sam\u003c/a>, specializing in boogaloo.” His brother, Timothy Solomon, introduces himself as “\u003ca href=\"https://www.youtube.com/watch?v=b341AFiucAY\">Popin’ Pete\u003c/a>.” To the audience’s delight, he demonstrates his moves, his body jerking robotically or popping.\u003c/p>\n\u003cp>The Solomon brothers hail from Fresno. Turns out, popping is a dance rooted not in the Bronx or Los Angeles, but in California’s Central Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qkc8YduPnOM\u003c/p>\n\u003cp>“The Electric Boogaloos were pioneers,” says Fresno State historian Sean Slusser. “They helped to popularize popping by getting on ‘Soul Train’ and working with artists like Michael Jackson.” Popin’ Pete worked with Jackson on “Thriller.”\u003c/p>\n\u003cp>As a historian, Slusser is intrigued by the genesis of popping. Bigger cities like Los Angeles, San Francisco, New York and Atlanta get a lot of credit for innovations in hip-hop. But what about smaller places like Fresno? Why aren’t hip-hop artists’ stories from these places told?\u003c/p>\n\u003cp>“They’re using hip-hop the same way, right? It’s a vehicle of expression, it’s a way to kind of get through economic depression, get through all the kinds of problems we associate with cities,” says Slusser.\u003c/p>\n\u003cp>He and his colleague, Romeo Guzman, decided an oral history project was in order.\u003c/p>\n\u003cp>The project, “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/straight-outta-fresno-hip-hop-dance-from-popping-to-b-boying-and-b-girling/\" target=\"_blank\" rel=\"noopener\">Straight Outta Fresno: Hip Hop Dance from Popping to B-Boying and B-Girling\u003c/a>,” will be archived at Fresno State as part of the university’s \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative: Preserving Our Stories\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11257432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11257432 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg\" alt=\"20161119_134907\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B-boy Goku (Charles Montgomery) dances for an audience at the Fresno State ‘What’s Popping’ event in November.\u003c/figcaption>\u003c/figure>\n\u003cp>The historians and their students are hoping to build Fresno’s hip-hop narrative by interviewing anyone who identifies with the culture: graffiti artists, MCs, DJs and hip-hop dancers, including B-boys, B-girls, lockers and poppers.\u003c/p>\n\u003cp>“Hip-hop in general and dancers are protective of their history,” Slusser says. “They’re amazing in the sense that they’re really into documenting ‘this is where this move came from, this is the person who originated it, here’s how it evolved, here’s how it changed over time,’ in this old-school oral history way. There’s this passing down of knowledge over dance moves, arguing over minute details.”\u003c/p>\n\u003cp>[contextly_sidebar id=”uyWrP2D0P8EWpVxIZOfxXnpcttsQ8O2I”]\u003c/p>\n\u003cp>And that includes popping. Its exact origins are still up for debate, Slusser says.\u003c/p>\n\u003cp>“One story that’s kind of emerged around Boogaloo Sam was that he was in church, in a Baptist church in Fresno,” says Slusser. Apparently, the dancer witnessed women catching the Holy Spirit and later mimicked those movements and spasms in his routine.\u003c/p>\n\u003cp>But there’s a competing origin story. It revolves around a kid named Tick’n Will, who danced with the Solomon brothers in Fresno and was a member of the original Boogaloo Lockers. Tick’n Will lived in Fresno’s Tulare housing project and created moves like the “old man,” imitating a man limping down the street.\u003c/p>\n\u003cp>“Whether it’s the church or referencing people you see day to day, that’s the beauty of hip-hop,” says Slusser. “It’s being able to take something that wasn’t meant to be a dance or wasn’t meant to be visual art and creating something new out of it. It makes perfect sense for populations that don’t have access to other resources like art and music classes.”\u003c/p>\n\u003cfigure id=\"attachment_11262097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11262097 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg\" alt=\"Dancer Deborah McCoy gave her oral history as part of Fresno State’s “What’s Popping” event in November.\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1020x1208.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1180x1397.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-960x1137.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-520x616.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Deborah McCoy gave her oral history as part of Fresno State’s ‘What’s Popping’ event in November. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these origin stories will be part of the oral history archive. But it will also include stories from people like Deborah McCoy, who was one of the first to be interviewed for the ongoing project.\u003c/p>\n\u003cp>McCoy was dancing in West Fresno in the ’70s just like Popin’ Pete and Boogaloo Sam.\u003c/p>\n\u003cp>“All of those guys, we would see them in the community,” she says in her oral history. “But we minded our own business. There were a lot of street dancers. We knew them all.”\u003c/p>\n\u003cp>McCoy and her brother, Ken, were a dancing team. They traveled the state competing and winning contests everywhere they went.\u003c/p>\n\u003cp>“I remember we danced in an Armenian church,” McCoy says. “They called us. At a church! Wow. We were like, OK. Back in the day, dance and church did not mix! I don’t care who you were, did not mix! You were going straight to hell!”\u003c/p>\n\u003cp>McCoy says her family didn’t have much money but they still managed to wear fabulous costumes. Her stepmom was a seamstress.\u003c/p>\n\u003cp>“We would go to thrift stores and buy material, so she would sew all of our clothes,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b341AFiucAY\u003c/p>\n\u003cp>As he records her oral history, Slusser asks her where she learned her dance styles.\u003c/p>\n\u003cp>“From the street, what you mean, what you mean where were we learning?” she says. “On the street. There was no. … Are you kidding? I have to say it like this. ‘You’re black and you’re gonna go take dance lessons?’ Come on, dude. It’s on the street. It’s right there. They were called battles. There’s no fighting and all that. You wanna fight? OK, we’re dancing.”\u003c/p>\n\u003cp>Over the years, hip-hop in Fresno evolved. In the ’90s, dance battles involved kids whose parents were refugees from Laos after the Vietnam War.\u003c/p>\n\u003cp>“Everybody talks about Fresno when it comes to B-boy and the Hmong community,” says James Vang. He grew up in a rough area in the ’90s and stayed away from gangs by breakin.’ He says Hmong B-boys made a name for themselves in Fresno and then spread out to other states.\u003c/p>\n\u003cp>“So they brought that B-boy history over there to start dancing. So now you’ve got B-boys in Sacramento, Minnesota, North Carolina and Wisconsin.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CP_oKLbaHRc\u003c/p>\n\u003cp>That history and how it influenced future generations is just one of the chapters Fresno State hopes to document next for its oral history archive.\u003c/p>\n\u003cp>As for Popin’ Pete and Boogaloo Sam, they’re still dancing. They travel the world, teaching their dance moves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://twitter.com/popinpete1/status/800601832871428096\u003c/p>\n\n",
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"excerpt": "A new oral history project documents the roots of a hip-hop dance style that started in a California city you might not expect: Fresno.\r\n",
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"title": "The Hip-Hop Dance Craze Born in Fresno: Popping | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember \u003ca href=\"http://soultrain.com/\">“Soul Train”\u003c/a>? The show billed itself as the “hippest trip in America, 60 non-stop minutes across the tracks of your mind.”\u003c/p>\n\u003cp>Flashback to 1979, when the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=qkc8YduPnOM\" target=\"_blank\" rel=\"noopener\">made their first appearance\u003c/a> dancing to the Bar-Kays.\u003c/p>\n\u003cp>Host Don Cornelius introduces the dance crew, saying: “These very creative young men have invented a dancing style that’s becoming very popular, and it’s described as popping or boogaloo.”\u003c/p>\n\u003cp>Sammy Solomon introduces himself as “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/the-story-of-boogaloo-sam-as-told-by-izel-gaye/\">Boogaloo Sam\u003c/a>, specializing in boogaloo.” His brother, Timothy Solomon, introduces himself as “\u003ca href=\"https://www.youtube.com/watch?v=b341AFiucAY\">Popin’ Pete\u003c/a>.” To the audience’s delight, he demonstrates his moves, his body jerking robotically or popping.\u003c/p>\n\u003cp>The Solomon brothers hail from Fresno. Turns out, popping is a dance rooted not in the Bronx or Los Angeles, but in California’s Central Valley.\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/qkc8YduPnOM'\n title='//www.youtube.com/embed/qkc8YduPnOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The Electric Boogaloos were pioneers,” says Fresno State historian Sean Slusser. “They helped to popularize popping by getting on ‘Soul Train’ and working with artists like Michael Jackson.” Popin’ Pete worked with Jackson on “Thriller.”\u003c/p>\n\u003cp>As a historian, Slusser is intrigued by the genesis of popping. Bigger cities like Los Angeles, San Francisco, New York and Atlanta get a lot of credit for innovations in hip-hop. But what about smaller places like Fresno? Why aren’t hip-hop artists’ stories from these places told?\u003c/p>\n\u003cp>“They’re using hip-hop the same way, right? It’s a vehicle of expression, it’s a way to kind of get through economic depression, get through all the kinds of problems we associate with cities,” says Slusser.\u003c/p>\n\u003cp>He and his colleague, Romeo Guzman, decided an oral history project was in order.\u003c/p>\n\u003cp>The project, “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/straight-outta-fresno-hip-hop-dance-from-popping-to-b-boying-and-b-girling/\" target=\"_blank\" rel=\"noopener\">Straight Outta Fresno: Hip Hop Dance from Popping to B-Boying and B-Girling\u003c/a>,” will be archived at Fresno State as part of the university’s \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative: Preserving Our Stories\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11257432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11257432 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg\" alt=\"20161119_134907\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B-boy Goku (Charles Montgomery) dances for an audience at the Fresno State ‘What’s Popping’ event in November.\u003c/figcaption>\u003c/figure>\n\u003cp>The historians and their students are hoping to build Fresno’s hip-hop narrative by interviewing anyone who identifies with the culture: graffiti artists, MCs, DJs and hip-hop dancers, including B-boys, B-girls, lockers and poppers.\u003c/p>\n\u003cp>“Hip-hop in general and dancers are protective of their history,” Slusser says. “They’re amazing in the sense that they’re really into documenting ‘this is where this move came from, this is the person who originated it, here’s how it evolved, here’s how it changed over time,’ in this old-school oral history way. There’s this passing down of knowledge over dance moves, arguing over minute details.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And that includes popping. Its exact origins are still up for debate, Slusser says.\u003c/p>\n\u003cp>“One story that’s kind of emerged around Boogaloo Sam was that he was in church, in a Baptist church in Fresno,” says Slusser. Apparently, the dancer witnessed women catching the Holy Spirit and later mimicked those movements and spasms in his routine.\u003c/p>\n\u003cp>But there’s a competing origin story. It revolves around a kid named Tick’n Will, who danced with the Solomon brothers in Fresno and was a member of the original Boogaloo Lockers. Tick’n Will lived in Fresno’s Tulare housing project and created moves like the “old man,” imitating a man limping down the street.\u003c/p>\n\u003cp>“Whether it’s the church or referencing people you see day to day, that’s the beauty of hip-hop,” says Slusser. “It’s being able to take something that wasn’t meant to be a dance or wasn’t meant to be visual art and creating something new out of it. It makes perfect sense for populations that don’t have access to other resources like art and music classes.”\u003c/p>\n\u003cfigure id=\"attachment_11262097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11262097 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg\" alt=\"Dancer Deborah McCoy gave her oral history as part of Fresno State’s “What’s Popping” event in November.\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1020x1208.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1180x1397.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-960x1137.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-520x616.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Deborah McCoy gave her oral history as part of Fresno State’s ‘What’s Popping’ event in November. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these origin stories will be part of the oral history archive. But it will also include stories from people like Deborah McCoy, who was one of the first to be interviewed for the ongoing project.\u003c/p>\n\u003cp>McCoy was dancing in West Fresno in the ’70s just like Popin’ Pete and Boogaloo Sam.\u003c/p>\n\u003cp>“All of those guys, we would see them in the community,” she says in her oral history. “But we minded our own business. There were a lot of street dancers. We knew them all.”\u003c/p>\n\u003cp>McCoy and her brother, Ken, were a dancing team. They traveled the state competing and winning contests everywhere they went.\u003c/p>\n\u003cp>“I remember we danced in an Armenian church,” McCoy says. “They called us. At a church! Wow. We were like, OK. Back in the day, dance and church did not mix! I don’t care who you were, did not mix! You were going straight to hell!”\u003c/p>\n\u003cp>McCoy says her family didn’t have much money but they still managed to wear fabulous costumes. Her stepmom was a seamstress.\u003c/p>\n\u003cp>“We would go to thrift stores and buy material, so she would sew all of our clothes,” she says.\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/b341AFiucAY'\n title='//www.youtube.com/embed/b341AFiucAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As he records her oral history, Slusser asks her where she learned her dance styles.\u003c/p>\n\u003cp>“From the street, what you mean, what you mean where were we learning?” she says. “On the street. There was no. … Are you kidding? I have to say it like this. ‘You’re black and you’re gonna go take dance lessons?’ Come on, dude. It’s on the street. It’s right there. They were called battles. There’s no fighting and all that. You wanna fight? OK, we’re dancing.”\u003c/p>\n\u003cp>Over the years, hip-hop in Fresno evolved. In the ’90s, dance battles involved kids whose parents were refugees from Laos after the Vietnam War.\u003c/p>\n\u003cp>“Everybody talks about Fresno when it comes to B-boy and the Hmong community,” says James Vang. He grew up in a rough area in the ’90s and stayed away from gangs by breakin.’ He says Hmong B-boys made a name for themselves in Fresno and then spread out to other states.\u003c/p>\n\u003cp>“So they brought that B-boy history over there to start dancing. So now you’ve got B-boys in Sacramento, Minnesota, North Carolina and Wisconsin.”\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/CP_oKLbaHRc'\n title='//www.youtube.com/embed/CP_oKLbaHRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That history and how it influenced future generations is just one of the chapters Fresno State hopes to document next for its oral history archive.\u003c/p>\n\u003cp>As for Popin’ Pete and Boogaloo Sam, they’re still dancing. They travel the world, teaching their dance moves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Digital radio has room for more channels, and supporters say it provides higher-quality sound. But most Norwegians oppose the decision to entirely ditch the national FM network starting next week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\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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"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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"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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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"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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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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