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"content": "\u003cp>President Barack Obama awarded the nation’s highest civilian honor to 21 groundbreaking actors, musicians, athletes and innovators who inspired him over the years and “helped make me who I am.”\u003c/p>\n\u003cp>“Everybody on this stage has touched me in a very powerful, personal way, in ways that they probably couldn’t imagine,” Obama said in concluding an hour-long ceremony Tuesday in the White House East Room.\u003c/p>\n\u003cp>The Presidential Medal of Freedom recognizes especially meritorious contributions to the national interests of the United States, its security and its culture. Obama called the 2016 group a “particularly impressive class.”\u003c/p>\n\u003cp>In the film world, Obama honored Tom Hanks, Robert De Niro, Robert Redford and Cicely Tyson.\u003c/p>\n\u003cp>Michael Jordan and Kareem Abdul-Jabbar, two of the greatest basketball players ever, were also among the honorees. Obama noted how Jordan’s name is synonymous with excellence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is a reason you call somebody ‘the Michael Jordan of,'” Obama said. “The Michael Jordan of neurosurgery, or the Michael Jordan of rabbis, or the Michael Jordan of outrigger canoeing. Everyone knows what you’re talking about.”\u003c/p>\n\u003cp>Bruce Springsteen and Diana Ross were recognized for their music.\u003c/p>\n\u003cp>Other honorees included philanthropists Bill and Melinda Gates, comedian Ellen DeGeneres and broadcaster Vin Scully.\u003c/p>\n\u003cp>Obama said the people receiving the medal helped push America forward and inspired millions around the world.\u003c/p>\n\u003cp>Posthumous honors went to Native American advocate Elouise Cobell and Rear Adm. Grace Hopper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Others receiving the award included:\u003c/p>\n\u003cul>\n\u003cli>Richard Garwin, an inventor and polymath physicist who made pioneering contributions to the nation’s defense.\u003c/li>\n\u003cli>Frank Gehry, one of the world’s leading architects.\u003c/li>\n\u003cli>Margaret H. Hamilton, a mathematician and computer scientist.\u003c/li>\n\u003cli>Maya Lin, the designer of the Vietnam Veterans Memorial.\u003c/li>\n\u003cli>Lorne Michaels, producer of \u003cem>Saturday Night Live.\u003c/em>\u003c/li>\n\u003cli>Newton Minow, a former Federal Communications Commission chairman devoted to numerous public and charitable causes.\u003c/li>\n\u003cli>Eduardo Padron, president of Miami Dade College.\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There is a reason you call somebody ‘the Michael Jordan of,'” Obama said. “The Michael Jordan of neurosurgery, or the Michael Jordan of rabbis, or the Michael Jordan of outrigger canoeing. Everyone knows what you’re talking about.”\u003c/p>\n\u003cp>Bruce Springsteen and Diana Ross were recognized for their music.\u003c/p>\n\u003cp>Other honorees included philanthropists Bill and Melinda Gates, comedian Ellen DeGeneres and broadcaster Vin Scully.\u003c/p>\n\u003cp>Obama said the people receiving the medal helped push America forward and inspired millions around the world.\u003c/p>\n\u003cp>Posthumous honors went to Native American advocate Elouise Cobell and Rear Adm. Grace Hopper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Others receiving the award included:\u003c/p>\n\u003cul>\n\u003cli>Richard Garwin, an inventor and polymath physicist who made pioneering contributions to the nation’s defense.\u003c/li>\n\u003cli>Frank Gehry, one of the world’s leading architects.\u003c/li>\n\u003cli>Margaret H. Hamilton, a mathematician and computer scientist.\u003c/li>\n\u003cli>Maya Lin, the designer of the Vietnam Veterans Memorial.\u003c/li>\n\u003cli>Lorne Michaels, producer of \u003cem>Saturday Night Live.\u003c/em>\u003c/li>\n\u003cli>Newton Minow, a former Federal Communications Commission chairman devoted to numerous public and charitable causes.\u003c/li>\n\u003cli>Eduardo Padron, president of Miami Dade College.\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp class=\"p1\">\u003cspan class=\"s1\">The country was still reeling from the presidential election on the evening of Nov. 10 when news broke that \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/leonard-cohen-hugely-influential-songwriter-and-author-dies-at-82/\" target=\"_blank\" rel=\"noopener\">Leonard Cohen had died at the age of 82\u003c/a>. For fans of the Canadian poet and singer, whose inimitable baritone, dark humor and honest lyricism provided comfort through so many dark times, it felt a little like getting punched when you were already down: how do you mourn a person you’ve counted on in the past to guide you through mourning?\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The answer, of course, is with his music. Just ask Conspiracy of Beards, a 30-member choir of men who’ve been performing a capella Cohen songs around the Bay since 2003, from the Great American Music Hall and Hardly Strictly Bluegrass to SFMOMA. Within hours of the singer’s passing, tribute shows were surely in the works at music venues all over the world — but the Beards decided they needed to bring the music to the people, and quickly. How better than with Bay Area Rapid Transit?\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">KQED Arts caught up with the choir on the evening of Nov. 14 as they set out on the “Conspiracy of Beards BART Station Tour,” which began shortly after 7pm at the Embarcadero station, moving on to performances in the Montgomery, Powell, Civic Center, and 16th Street stations before a finale at 24th Street in the Mission. Here’s what we heard.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">The country was still reeling from the presidential election on the evening of Nov. 10 when news broke that \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/leonard-cohen-hugely-influential-songwriter-and-author-dies-at-82/\" target=\"_blank\" rel=\"noopener\">Leonard Cohen had died at the age of 82\u003c/a>. For fans of the Canadian poet and singer, whose inimitable baritone, dark humor and honest lyricism provided comfort through so many dark times, it felt a little like getting punched when you were already down: how do you mourn a person you’ve counted on in the past to guide you through mourning?\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The answer, of course, is with his music. Just ask Conspiracy of Beards, a 30-member choir of men who’ve been performing a capella Cohen songs around the Bay since 2003, from the Great American Music Hall and Hardly Strictly Bluegrass to SFMOMA. Within hours of the singer’s passing, tribute shows were surely in the works at music venues all over the world — but the Beards decided they needed to bring the music to the people, and quickly. How better than with Bay Area Rapid Transit?\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">KQED Arts caught up with the choir on the evening of Nov. 14 as they set out on the “Conspiracy of Beards BART Station Tour,” which began shortly after 7pm at the Embarcadero station, moving on to performances in the Montgomery, Powell, Civic Center, and 16th Street stations before a finale at 24th Street in the Mission. Here’s what we heard.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At a recent concert inside Dolby Laboratories, a member of \u003ca href=\"https://theshes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The She’s\u003c/a> leans into the mic between songs and tells the audience, “I just started school and I’m going to major in math!”\u003c/p>\n\u003cp>It’s not your usual rock ‘n’ roll banter — but the crowd cheers.\u003c/p>\n\u003cp>There’s another anomaly at this show, though: all the bands and sound engineers are women, while the world of audio is a field dominated by men. Addressing and correcting that disparity is the work of Women’s Audio Mission (WAM), an organization dedicated to teaching audio engineering and technology to young women from low-income communities. Graduates of the program go on to work in WAM’s recording studio while others have found jobs at at Dolby, George Lucas Studios, Pixar, Electronic Arts, and NPR.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/310609047″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The WAM studio is the only professional recording studio in the country built and operated entirely by women. WAM’s founder and executive director, Terri Winston — who happily bobbed along to The She’s upbeat California surf rock at the Dolby show — was there when the band recorded their first album, the sole product of women from the writing to the final mix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Less than 5 percent of women are creating and shaping the sounds and media that make the constant soundtrack of our lives,” Winston says. “So the perspectives of women and girls are barely audible. They need to be amplified in order for our girls to thrive.”\u003c/p>\n\u003cp>I met Winston the following day at the WAM studio in San Francisco’s SoMa neighborhood. She helped me bring my bike into the garage and walked me through the soundproofed labyrinth of studios and classrooms. In a room where an audiobook was about to be recorded, a woman sat comfortably behind a mixing console with hundreds of knobs and levers. It resembled the control panel of a spaceship in a sci-fi movie.\u003c/p>\n\u003cp>Winston founded WAM over 13 years ago. While teaching in the Broadcasting Department at City College of San Francisco, she was disappointed by the lack of women in her class, so she founded an audio club for women.\u003c/p>\n\u003cfigure id=\"attachment_12273905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg\" alt=\"A WAM student runs live sound during a concert\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WAM engineer runs live sound during a concert. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year, Winston booked a booth for her club at a convention for the Audio Engineering Society, the largest professional association of audio engineers in the country. According to an AES representative \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">speaking to Huffington Post\u003c/a>, less than seven percent of AES members are women. Winston tells me that the conventions are overwhelmingly white and male. “They even dress the same,” she says.\u003c/p>\n\u003cp>At first she was met with suspicion — organizers thought she was planning to protest the convention. But her booth was a huge success. Winston received armfuls of donated equipment from manufacturers, so much that she had to find a shopping cart to wheel it all around.\u003c/p>\n\u003cp>“That’s how WAM started, in a shopping cart,” says Winston.\u003c/p>\n\u003cp>AES has given WAM a booth every year since.\u003c/p>\n\u003cfigure id=\"attachment_12273901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12273901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png\" alt=\"Terri Winston at the WAM studios.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1180x799.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-960x650.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-240x163.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-375x254.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-520x352.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257.png 1608w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terri Winston at the WAM studios. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At City College, Terri’s classes reached parity with men and women attending. It didn’t go unnoticed. People began coming to Winston asking how she was able to get women interested. Instead of traveling to share her success, Winston decided to build a studio “to put all those best practices in one place” and created WAM.\u003c/p>\n\u003cp>These days, WAM trains 1,200 women every year. Of those, 850 are middle-school girls. Also, 93 percent of the girls are low-income, 83 percent are girls of color and 73 percent don’t have access to a computer.\u003c/p>\n\u003cp>Winston says she is targeting young women with some of highest dropout rates in the state of California. “We are serving the lowest-income students on purpose,” she said.\u003c/p>\n\u003cp>Winston says a lot of her students start out believing the nerdy male engineer stereotype. Her classes combat this by not giving anything a label while the girls are learning.\u003c/p>\n\u003cfigure id=\"attachment_12273900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273900 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg\" alt=\"Students try out vocal mics during a class at WAM\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-520x369.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students try out vocal mics during a class at WAM. \u003ccite>(Courtesy of WAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t push referring to this stuff as \u003ca href=\"https://en.wikipedia.org/wiki/Science,_technology,_engineering,_and_mathematics\" target=\"_blank\" rel=\"noopener\">STEM\u003c/a>. We know what we are doing on our end. Until those words get detached from certain stereotypes you’re not going to see girls doing it,” Winston says. “Ironically, after 18 weeks of training, they get to work on a project where they are assigned various music production roles. They usually fight over who gets to be the engineer.”\u003c/p>\n\u003cp>While WAM works to fix the pipeline of women studying audio engineering, many men skip the pipeline altogether. Audio engineering has a tradition of mentorship, and because most mentors are men, it becomes less likely for women to be brought into the fold.\u003c/p>\n\u003cp>Claire Boucher, also known as Grimes, \u003ca href=\"http://www.npr.org/2016/04/27/455769676/feeling-this-a-conversation-with-grimes\">spoke to NPR\u003c/a> about the gendered stereotypes in song production, with men producing beats and women singing melodies. “I wasn’t allowed to touch a computer, for example, even though guys in the studio were allowed to,” Boucher told NPR. “I obviously know how to use a computer and I know how to produce, but I had to tell the engineer what to do if I wanted to do anything, which I thought was pretty crazy in the 21st century.”\u003c/p>\n\u003cfigure id=\"attachment_12268804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg\" alt=\"Claire Boucher performs as Grimes\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Boucher performs as Grimes. \u003ccite>(peta_azak/flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came in with experience as a producer and I wasn’t allowed to produce — so how could any woman who didn’t have experience as a producer ever learn how to produce? It was just a little odd in that regard,” Boucher added. “If there are stereotypes of, ‘Women do certain jobs in music and men do certain jobs,’ the way the studio works, it’s not easy to escape that.”\u003c/p>\n\u003cp>“We have to be twice as good as our male counterparts to be considered on the same level,” says Julie Indelicato, a San Francisco-based sound engineer. “Some bands will even apologize to the audience for the fact that I’m a woman.”\u003c/p>\n\u003cp>Indelicato has worked the soundboard at live shows in the Bay Area for eight years. “I often have people coming up to me asking if I need help,” Indelicato says. “It happens every time. Even by laypeople. You wouldn’t ask a plumber if they need help fixing your toilet.”\u003c/p>\n\u003cp>She says it’s a common experience for bands to walk right past her in the sound booth and ask the nearest man where the sound engineer is. “These days I walk towards them before they can overlook the fact that I’m working there,” she adds.\u003c/p>\n\u003cp>“I’m an African American lesbian woman working as a sound engineer. This is a mostly white male industry,” Indelicato tells me. \u003c/p>\n\u003cfigure id=\"attachment_12268805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg\" alt=\"Julie Indelicato at work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Indelicato at work. \u003ccite>(Courtesy of Phoebe Lula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of being dismissed, women work in a world rife with sexual innuendo and misogynistic comments. “It’s a bawdy environment. There are lots of sexual jokes and complaining about girlfriends and wives,” says Indelicato.\u003c/p>\n\u003cp>When I ask Indelicato why she thinks it’s like this, she tells me, “This is 1099 work. We are mostly independent contractors. The only person who will stand up for you is you. It’s so hard for women to speak up for themselves when they are already being questioned the moment they walk in the door.”\u003c/p>\n\u003cp>“The audio industry is kind of like the wild west,” Winston says. “You see that it’s really unregulated. You don’t have a human resources department. Nobody is talking about what are appropriate conversations. There is a lot of wild and crazy behavior in studio spaces.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But we are heading in the right direction. A lot of our male allies are coming forward and standing up,” Winston adds. “We are seeing more women in classes. It forces teachers to see their audience is half women and that they have to talk about about what is relevant to everyone. This applies to all kinds of diversity, not just gender issues.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a recent concert inside Dolby Laboratories, a member of \u003ca href=\"https://theshes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The She’s\u003c/a> leans into the mic between songs and tells the audience, “I just started school and I’m going to major in math!”\u003c/p>\n\u003cp>It’s not your usual rock ‘n’ roll banter — but the crowd cheers.\u003c/p>\n\u003cp>There’s another anomaly at this show, though: all the bands and sound engineers are women, while the world of audio is a field dominated by men. Addressing and correcting that disparity is the work of Women’s Audio Mission (WAM), an organization dedicated to teaching audio engineering and technology to young women from low-income communities. Graduates of the program go on to work in WAM’s recording studio while others have found jobs at at Dolby, George Lucas Studios, Pixar, Electronic Arts, and NPR.\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/310609047″&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/310609047″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The WAM studio is the only professional recording studio in the country built and operated entirely by women. WAM’s founder and executive director, Terri Winston — who happily bobbed along to The She’s upbeat California surf rock at the Dolby show — was there when the band recorded their first album, the sole product of women from the writing to the final mix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Less than 5 percent of women are creating and shaping the sounds and media that make the constant soundtrack of our lives,” Winston says. “So the perspectives of women and girls are barely audible. They need to be amplified in order for our girls to thrive.”\u003c/p>\n\u003cp>I met Winston the following day at the WAM studio in San Francisco’s SoMa neighborhood. She helped me bring my bike into the garage and walked me through the soundproofed labyrinth of studios and classrooms. In a room where an audiobook was about to be recorded, a woman sat comfortably behind a mixing console with hundreds of knobs and levers. It resembled the control panel of a spaceship in a sci-fi movie.\u003c/p>\n\u003cp>Winston founded WAM over 13 years ago. While teaching in the Broadcasting Department at City College of San Francisco, she was disappointed by the lack of women in her class, so she founded an audio club for women.\u003c/p>\n\u003cfigure id=\"attachment_12273905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg\" alt=\"A WAM student runs live sound during a concert\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WAM engineer runs live sound during a concert. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year, Winston booked a booth for her club at a convention for the Audio Engineering Society, the largest professional association of audio engineers in the country. According to an AES representative \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">speaking to Huffington Post\u003c/a>, less than seven percent of AES members are women. Winston tells me that the conventions are overwhelmingly white and male. “They even dress the same,” she says.\u003c/p>\n\u003cp>At first she was met with suspicion — organizers thought she was planning to protest the convention. But her booth was a huge success. Winston received armfuls of donated equipment from manufacturers, so much that she had to find a shopping cart to wheel it all around.\u003c/p>\n\u003cp>“That’s how WAM started, in a shopping cart,” says Winston.\u003c/p>\n\u003cp>AES has given WAM a booth every year since.\u003c/p>\n\u003cfigure id=\"attachment_12273901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12273901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png\" alt=\"Terri Winston at the WAM studios.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1180x799.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-960x650.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-240x163.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-375x254.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-520x352.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257.png 1608w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terri Winston at the WAM studios. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At City College, Terri’s classes reached parity with men and women attending. It didn’t go unnoticed. People began coming to Winston asking how she was able to get women interested. Instead of traveling to share her success, Winston decided to build a studio “to put all those best practices in one place” and created WAM.\u003c/p>\n\u003cp>These days, WAM trains 1,200 women every year. Of those, 850 are middle-school girls. Also, 93 percent of the girls are low-income, 83 percent are girls of color and 73 percent don’t have access to a computer.\u003c/p>\n\u003cp>Winston says she is targeting young women with some of highest dropout rates in the state of California. “We are serving the lowest-income students on purpose,” she said.\u003c/p>\n\u003cp>Winston says a lot of her students start out believing the nerdy male engineer stereotype. Her classes combat this by not giving anything a label while the girls are learning.\u003c/p>\n\u003cfigure id=\"attachment_12273900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273900 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg\" alt=\"Students try out vocal mics during a class at WAM\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-520x369.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students try out vocal mics during a class at WAM. \u003ccite>(Courtesy of WAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t push referring to this stuff as \u003ca href=\"https://en.wikipedia.org/wiki/Science,_technology,_engineering,_and_mathematics\" target=\"_blank\" rel=\"noopener\">STEM\u003c/a>. We know what we are doing on our end. Until those words get detached from certain stereotypes you’re not going to see girls doing it,” Winston says. “Ironically, after 18 weeks of training, they get to work on a project where they are assigned various music production roles. They usually fight over who gets to be the engineer.”\u003c/p>\n\u003cp>While WAM works to fix the pipeline of women studying audio engineering, many men skip the pipeline altogether. Audio engineering has a tradition of mentorship, and because most mentors are men, it becomes less likely for women to be brought into the fold.\u003c/p>\n\u003cp>Claire Boucher, also known as Grimes, \u003ca href=\"http://www.npr.org/2016/04/27/455769676/feeling-this-a-conversation-with-grimes\">spoke to NPR\u003c/a> about the gendered stereotypes in song production, with men producing beats and women singing melodies. “I wasn’t allowed to touch a computer, for example, even though guys in the studio were allowed to,” Boucher told NPR. “I obviously know how to use a computer and I know how to produce, but I had to tell the engineer what to do if I wanted to do anything, which I thought was pretty crazy in the 21st century.”\u003c/p>\n\u003cfigure id=\"attachment_12268804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg\" alt=\"Claire Boucher performs as Grimes\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Boucher performs as Grimes. \u003ccite>(peta_azak/flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came in with experience as a producer and I wasn’t allowed to produce — so how could any woman who didn’t have experience as a producer ever learn how to produce? It was just a little odd in that regard,” Boucher added. “If there are stereotypes of, ‘Women do certain jobs in music and men do certain jobs,’ the way the studio works, it’s not easy to escape that.”\u003c/p>\n\u003cp>“We have to be twice as good as our male counterparts to be considered on the same level,” says Julie Indelicato, a San Francisco-based sound engineer. “Some bands will even apologize to the audience for the fact that I’m a woman.”\u003c/p>\n\u003cp>Indelicato has worked the soundboard at live shows in the Bay Area for eight years. “I often have people coming up to me asking if I need help,” Indelicato says. “It happens every time. Even by laypeople. You wouldn’t ask a plumber if they need help fixing your toilet.”\u003c/p>\n\u003cp>She says it’s a common experience for bands to walk right past her in the sound booth and ask the nearest man where the sound engineer is. “These days I walk towards them before they can overlook the fact that I’m working there,” she adds.\u003c/p>\n\u003cp>“I’m an African American lesbian woman working as a sound engineer. This is a mostly white male industry,” Indelicato tells me. \u003c/p>\n\u003cfigure id=\"attachment_12268805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg\" alt=\"Julie Indelicato at work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Indelicato at work. \u003ccite>(Courtesy of Phoebe Lula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of being dismissed, women work in a world rife with sexual innuendo and misogynistic comments. “It’s a bawdy environment. There are lots of sexual jokes and complaining about girlfriends and wives,” says Indelicato.\u003c/p>\n\u003cp>When I ask Indelicato why she thinks it’s like this, she tells me, “This is 1099 work. We are mostly independent contractors. The only person who will stand up for you is you. It’s so hard for women to speak up for themselves when they are already being questioned the moment they walk in the door.”\u003c/p>\n\u003cp>“The audio industry is kind of like the wild west,” Winston says. “You see that it’s really unregulated. You don’t have a human resources department. Nobody is talking about what are appropriate conversations. There is a lot of wild and crazy behavior in studio spaces.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But we are heading in the right direction. A lot of our male allies are coming forward and standing up,” Winston adds. “We are seeing more women in classes. It forces teachers to see their audience is half women and that they have to talk about about what is relevant to everyone. This applies to all kinds of diversity, not just gender issues.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Designer of San Francisco's Martin Luther King Memorial Dies",
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"content": "\u003cp>Houston Conwill invested his sculptures and memorials with a deep spirituality. That’s evident in the design for the Martin Luther King Jr. Memorial at \u003ca href=\"http://yerbabuenagardens.com/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Yerba Buena Gardens\u003c/a>. It’s a waterfall, 50 feet wide, that invites visitors to step behind into a cool, damp refuge from the city. There they find photos of Martin Luther King Jr. and words from his speeches etched in Sierra granite. Included in the engravings is a bible passage from the prophet Amos that King often quoted: “But let justice roll down like waters And righteousness like an ever-flowing stream.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2016/11/21/arts/design/houston-conwill-dead-sculptor.html\" target=\"_blank\" rel=\"noopener\">Conwill died Nov. 14\u003c/a> in the Bronx at the age of 69. He was a former seminarian and a Vietnam War Veteran who later built site specific installations honoring African American culture, such as the MLK waterfall and a memorial to poet Langston Hughes in Harlem.\u003c/p>\n\u003cp>“Mr. Conwill captured the essence of a man and a movement,” the \u003ca href=\"http://www.thirdbaptist.org/pastor-brown/\" target=\"_blank\" rel=\"noopener\">Reverend Amos Brown\u003c/a> said during a phone interview Monday. Brown, the pastor at San Francisco’s Third Baptist Church, said he suggested the quote and the water theme for the memorial to Conwill, and the results were better than he ever imagined.\u003c/p>\n\u003cp>Locals and tourists often discover that the King waterfall is a memorial almost by accident. Mark Sonny, a school teacher visiting the city from La Habra in Southern California, was there with his wife and young daughter Monday morning, and he was impressed by the power of Conwill’s design.\u003c/p>\n\u003cp>“The water represents what King was trying to do in a peaceful way,” Sonny said, “the water falls on the rocks and over time the rocks begin to lose their sharp edge.”\u003c/p>\n\u003cfigure id=\"attachment_12377287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12377287\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/010-800x495.jpg\" alt=\"Looking out from behind the waterfall at San Franciscos Martin Luther King Memorial designed by Houston Conwill\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looking out from behind the waterfall at San Franciscos Martin Luther King Memorial designed by Houston Conwill \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown said the recent Presidential election is a good reason to revisit the King memorial. “Mr. Conwill reminds us that the water has got to flow, and never be cut off or dammed up. Until all people are respected for their worth and dignity, until all people have equality of opportunity. Until all people have equal protection under the law. ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Conwill is survived by his sister, poet Estella Majozo, and the architect Joseph DePace. Both of them collaborated with Conwill on San Francisco’s King Memorial. His wife is Kinshasha Holman Conwill, the deputy director of the Smithsonian’s National Museum of African American History and Culture.\u003c/p>\n\n",
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"excerpt": "Houston Conwill, who designed the Martin Luther King memorial at Yerba Buena Gardens, has died at the age of 69.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Houston Conwill invested his sculptures and memorials with a deep spirituality. That’s evident in the design for the Martin Luther King Jr. Memorial at \u003ca href=\"http://yerbabuenagardens.com/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Yerba Buena Gardens\u003c/a>. It’s a waterfall, 50 feet wide, that invites visitors to step behind into a cool, damp refuge from the city. There they find photos of Martin Luther King Jr. and words from his speeches etched in Sierra granite. Included in the engravings is a bible passage from the prophet Amos that King often quoted: “But let justice roll down like waters And righteousness like an ever-flowing stream.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2016/11/21/arts/design/houston-conwill-dead-sculptor.html\" target=\"_blank\" rel=\"noopener\">Conwill died Nov. 14\u003c/a> in the Bronx at the age of 69. He was a former seminarian and a Vietnam War Veteran who later built site specific installations honoring African American culture, such as the MLK waterfall and a memorial to poet Langston Hughes in Harlem.\u003c/p>\n\u003cp>“Mr. Conwill captured the essence of a man and a movement,” the \u003ca href=\"http://www.thirdbaptist.org/pastor-brown/\" target=\"_blank\" rel=\"noopener\">Reverend Amos Brown\u003c/a> said during a phone interview Monday. Brown, the pastor at San Francisco’s Third Baptist Church, said he suggested the quote and the water theme for the memorial to Conwill, and the results were better than he ever imagined.\u003c/p>\n\u003cp>Locals and tourists often discover that the King waterfall is a memorial almost by accident. Mark Sonny, a school teacher visiting the city from La Habra in Southern California, was there with his wife and young daughter Monday morning, and he was impressed by the power of Conwill’s design.\u003c/p>\n\u003cp>“The water represents what King was trying to do in a peaceful way,” Sonny said, “the water falls on the rocks and over time the rocks begin to lose their sharp edge.”\u003c/p>\n\u003cfigure id=\"attachment_12377287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12377287\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/010-800x495.jpg\" alt=\"Looking out from behind the waterfall at San Franciscos Martin Luther King Memorial designed by Houston Conwill\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/010-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looking out from behind the waterfall at San Franciscos Martin Luther King Memorial designed by Houston Conwill \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown said the recent Presidential election is a good reason to revisit the King memorial. “Mr. Conwill reminds us that the water has got to flow, and never be cut off or dammed up. Until all people are respected for their worth and dignity, until all people have equality of opportunity. Until all people have equal protection under the law. ”\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>Conwill is survived by his sister, poet Estella Majozo, and the architect Joseph DePace. Both of them collaborated with Conwill on San Francisco’s King Memorial. His wife is Kinshasha Holman Conwill, the deputy director of the Smithsonian’s National Museum of African American History and Culture.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 2016 American Music Awards featured a number of pop stars strumming their guitars, Drake making a rare awards show appearance, an emotional speech from Selena Gomez and political moments about President-elect Donald Trump.\u003c/p>\n\u003cp>Drake, who has skipped his fair share of awards shows in recent years, was the big winner with four awards and debuted a new commercial for Apple Music.\u003c/p>\n\u003cp>“For our genre, I just like to keep things excited and keep making music. Shout out to everybody that’s trying to do the same thing,” said Drake, who broke Michael Jackson’s record for most AMA nominations after scoring 13 nominations.\u003c/p>\n\u003cp>Bieber, who performed from his tour in Zurich, Switzerland, also won four awards.\u003c/p>\n\u003cp>Gomez, who lost artist of the year to Ariana Grande but won favorite female artist — pop/rock, gave a heartfelt speech onstage that earned a loud applause from the audience at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s safe to say that most of you know a lot of my life whether I liked it or not, and I had to stop, ’cause I had everything, and I was absolutely broken inside. And I kept it all together to where I never let you down. But I kept it too much together where I let myself down,” said 24-year-old Gomez, who recently took time off to treat depression and anxiety.\u003c/p>\n\u003cp>“I don’t want to see your bodies on Instagram. I want to see what’s in here,” she added, pointing to her heart. “And I have to say thank you so much to my fans because you guys are so damn loyal, and I don’t know what I did to deserve you. If you are broken, you don’t have to stay broken.”\u003c/p>\n\u003cp>Grande was shaking onstage as she collected artist of the year at the fan-voted show that aired live on ABC, beating Rihanna, Carrie Underwood and Bieber. “With or without this, I love you from the bottom of my heart,” she said to her fans.\u003c/p>\n\u003cp>Green Day was one of many big-named acts promoting new albums at the AMAs, including Bruno Mars, the Weeknd, Lady Gaga, Sting, John Legend and The Chainsmokers. But Green Day got political during their performance of “Bang Bang” as band leader Billie Joe Armstrong sang “No KKK, no fascist USA, no Trump” during the show.\u003c/p>\n\u003cp>The show’s hosts — former \u003cem>Saturday Night Live\u003c/em> comic Jay Pharaoh and model Gigi Hadid — also mentioned the Trump family when telling jokes: After Pharaoh impersonated Jay Z, Hadid acted like Melania Trump.\u003c/p>\n\u003cp>“I love my husband, President Barack Obama, and our children, Sasha and Malia,” she said, scrunching up her face.\u003c/p>\n\u003cp>Strumming guitars while singing was one of the night’s themes: One Direction’s Niall Horan slowed things down for his acoustic-folk solo single, “This Town”: James Bay sang his smoky single, “Let It Go”; and Shawn Mendes performed his hit “Treat You Better” and switched to piano for the aching “Mercy.”\u003c/p>\n\u003cp>But the best singer-guitarist was Gaga, who beautifully belted the lyrics to her latest single, “Million Reasons.” She earned a rousing applause from the audience.\u003c/p>\n\u003cp>Sting also impressed, with his performances of “Message In a Bottle,” “Every Breathe You Take” and his new single, “I Can’t Stop Thinking About You.” He received the American Music Award of Merit, which was presented to him by Robert Downey Jr.\u003c/p>\n\u003cp>“American music lit the musical spark in my young mind,” the English singer said after his performance. “My musical soul is all American!”\u003c/p>\n\u003cp>Other highlights included double winners twenty one pilots and Mars, who kicked off the AMAs with his groovy hit, “24K Magic,” backed by his band who matched his slick, upbeat dance moves.\u003c/p>\n\u003cp>Grande and Nicki Minaj got steamy during their performance of the reggae-tinged “Side to Side”: Grande’s background dancers danced closely on her, and one male dancer even pulled up her skirt, while Minaj, who rapped from a chair, spread her legs widely.\u003c/p>\n\u003cp>Other performers included Maroon 5 with Kendrick Lamar; DJ Khaled with Minaj, Future, Rick Ross and August Alsina; and Fifth Harmony, who won collaboration of the year for “Work from Home” with Ty Dolla $ign.\u003c/p>\n\u003cp>Prince’s 1984 \u003cem>Purple Rain\u003c/em> album, which gained new attention after his death in April, won top soundtrack. His sister, Tyka Nelson, collected his trophy onstage and cried as she spoke to the audience.\u003c/p>\n\u003cp>“We’ll keep this for you at Paisley Park until we see you again,” she said weeping and naming her siblings. “This is for you.”\u003c/p>\n\u003cp>Other winners included Tim McGraw, the Chainsmokers and Florida Georgia Line. Rihanna, who didn’t attend, won three awards. Adele and Beyonce were also absent but both won an award.\u003c/p>\n\u003cp>Zayn, who has won a handful of AMAs with his One Direction bandmates, took home new artist of the year.\u003c/p>\n\u003cp>“Wow. This one just has my name on it, right?” he said. “This has been a crazy year … I didn’t expect anyone to vote for me, so thank you for voting for me.”\u003c/p>\n\u003ch3>List of 2016 AMA Winners:\u003c/h3>\n\u003cp>\u003cstrong>Artist of the year:\u003c/strong> Ariana Grande\u003c/p>\n\u003cp>\u003cstrong>New artist of the year:\u003c/strong> Zayn\u003c/p>\n\u003cp>\u003cstrong>Collaboration of the year:\u003c/strong> “Work from Home,” Fifth Harmony feat. Ty Dolla $ign\u003c/p>\n\u003cp>\u003cstrong>Tour of the year:\u003c/strong> Beyoncé\u003c/p>\n\u003cp>\u003cstrong>Video of the year:\u003c/strong> “Sorry,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock female artist:\u003c/strong> Selena Gomez\u003c/p>\n\u003cp>\u003cstrong>Pop/rock male artist:\u003c/strong> Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock band, duo or group:\u003c/strong> Twenty One Pilots\u003c/p>\n\u003cp>\u003cstrong>Pop/rock song:\u003c/strong> “Love Yourself,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock album:\u003c/strong>\u003cem> Purpose\u003c/em>, Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Country female artist:\u003c/strong> Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Country male artist:\u003c/strong> Blake Shelton\u003c/p>\n\u003cp>\u003cstrong>Country band, duo or group:\u003c/strong> Florida Georgia Line\u003c/p>\n\u003cp>\u003cstrong>Country song:\u003c/strong> “Humble and Kind,” Tim McGraw\u003c/p>\n\u003cp>\u003cstrong>Country album:\u003c/strong> \u003cem>Storyteller\u003c/em>, Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop artist:\u003c/strong> Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop song:\u003c/strong> “Hotline Bling,” Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop album:\u003c/strong> \u003cem>Views\u003c/em>, Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B female artist:\u003c/strong> Rihanna\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B male artist:\u003c/strong> Chris Brown\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B song:\u003c/strong> “Work,” Rihanna feat. Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B album:\u003c/strong> “Anti,” Rihanna\u003c/p>\n\u003cp>\u003cstrong>Latin artist:\u003c/strong> Enrique Iglesias\u003c/p>\n\u003cp>\u003cstrong>Alternative rock:\u003c/strong> Twenty One Pilots\u003cbr>\n\u003cstrong>\u003cbr>\nAdult contemporary:\u003c/strong> Adele\u003c/p>\n\u003cp>\u003cstrong>Contemporary inspirational:\u003c/strong> Hillsong United\u003c/p>\n\u003cp>\u003cstrong>Electronic dance music:\u003c/strong> The Chainsmokers\u003c/p>\n\u003cp>\u003cstrong>Soundtrack:\u003c/strong> \u003cem>Purple Rain\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Award of merit:\u003c/strong> Sting\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s safe to say that most of you know a lot of my life whether I liked it or not, and I had to stop, ’cause I had everything, and I was absolutely broken inside. And I kept it all together to where I never let you down. But I kept it too much together where I let myself down,” said 24-year-old Gomez, who recently took time off to treat depression and anxiety.\u003c/p>\n\u003cp>“I don’t want to see your bodies on Instagram. I want to see what’s in here,” she added, pointing to her heart. “And I have to say thank you so much to my fans because you guys are so damn loyal, and I don’t know what I did to deserve you. If you are broken, you don’t have to stay broken.”\u003c/p>\n\u003cp>Grande was shaking onstage as she collected artist of the year at the fan-voted show that aired live on ABC, beating Rihanna, Carrie Underwood and Bieber. “With or without this, I love you from the bottom of my heart,” she said to her fans.\u003c/p>\n\u003cp>Green Day was one of many big-named acts promoting new albums at the AMAs, including Bruno Mars, the Weeknd, Lady Gaga, Sting, John Legend and The Chainsmokers. But Green Day got political during their performance of “Bang Bang” as band leader Billie Joe Armstrong sang “No KKK, no fascist USA, no Trump” during the show.\u003c/p>\n\u003cp>The show’s hosts — former \u003cem>Saturday Night Live\u003c/em> comic Jay Pharaoh and model Gigi Hadid — also mentioned the Trump family when telling jokes: After Pharaoh impersonated Jay Z, Hadid acted like Melania Trump.\u003c/p>\n\u003cp>“I love my husband, President Barack Obama, and our children, Sasha and Malia,” she said, scrunching up her face.\u003c/p>\n\u003cp>Strumming guitars while singing was one of the night’s themes: One Direction’s Niall Horan slowed things down for his acoustic-folk solo single, “This Town”: James Bay sang his smoky single, “Let It Go”; and Shawn Mendes performed his hit “Treat You Better” and switched to piano for the aching “Mercy.”\u003c/p>\n\u003cp>But the best singer-guitarist was Gaga, who beautifully belted the lyrics to her latest single, “Million Reasons.” She earned a rousing applause from the audience.\u003c/p>\n\u003cp>Sting also impressed, with his performances of “Message In a Bottle,” “Every Breathe You Take” and his new single, “I Can’t Stop Thinking About You.” He received the American Music Award of Merit, which was presented to him by Robert Downey Jr.\u003c/p>\n\u003cp>“American music lit the musical spark in my young mind,” the English singer said after his performance. “My musical soul is all American!”\u003c/p>\n\u003cp>Other highlights included double winners twenty one pilots and Mars, who kicked off the AMAs with his groovy hit, “24K Magic,” backed by his band who matched his slick, upbeat dance moves.\u003c/p>\n\u003cp>Grande and Nicki Minaj got steamy during their performance of the reggae-tinged “Side to Side”: Grande’s background dancers danced closely on her, and one male dancer even pulled up her skirt, while Minaj, who rapped from a chair, spread her legs widely.\u003c/p>\n\u003cp>Other performers included Maroon 5 with Kendrick Lamar; DJ Khaled with Minaj, Future, Rick Ross and August Alsina; and Fifth Harmony, who won collaboration of the year for “Work from Home” with Ty Dolla $ign.\u003c/p>\n\u003cp>Prince’s 1984 \u003cem>Purple Rain\u003c/em> album, which gained new attention after his death in April, won top soundtrack. His sister, Tyka Nelson, collected his trophy onstage and cried as she spoke to the audience.\u003c/p>\n\u003cp>“We’ll keep this for you at Paisley Park until we see you again,” she said weeping and naming her siblings. “This is for you.”\u003c/p>\n\u003cp>Other winners included Tim McGraw, the Chainsmokers and Florida Georgia Line. Rihanna, who didn’t attend, won three awards. Adele and Beyonce were also absent but both won an award.\u003c/p>\n\u003cp>Zayn, who has won a handful of AMAs with his One Direction bandmates, took home new artist of the year.\u003c/p>\n\u003cp>“Wow. This one just has my name on it, right?” he said. “This has been a crazy year … I didn’t expect anyone to vote for me, so thank you for voting for me.”\u003c/p>\n\u003ch3>List of 2016 AMA Winners:\u003c/h3>\n\u003cp>\u003cstrong>Artist of the year:\u003c/strong> Ariana Grande\u003c/p>\n\u003cp>\u003cstrong>New artist of the year:\u003c/strong> Zayn\u003c/p>\n\u003cp>\u003cstrong>Collaboration of the year:\u003c/strong> “Work from Home,” Fifth Harmony feat. Ty Dolla $ign\u003c/p>\n\u003cp>\u003cstrong>Tour of the year:\u003c/strong> Beyoncé\u003c/p>\n\u003cp>\u003cstrong>Video of the year:\u003c/strong> “Sorry,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock female artist:\u003c/strong> Selena Gomez\u003c/p>\n\u003cp>\u003cstrong>Pop/rock male artist:\u003c/strong> Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock band, duo or group:\u003c/strong> Twenty One Pilots\u003c/p>\n\u003cp>\u003cstrong>Pop/rock song:\u003c/strong> “Love Yourself,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock album:\u003c/strong>\u003cem> Purpose\u003c/em>, Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Country female artist:\u003c/strong> Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Country male artist:\u003c/strong> Blake Shelton\u003c/p>\n\u003cp>\u003cstrong>Country band, duo or group:\u003c/strong> Florida Georgia Line\u003c/p>\n\u003cp>\u003cstrong>Country song:\u003c/strong> “Humble and Kind,” Tim McGraw\u003c/p>\n\u003cp>\u003cstrong>Country album:\u003c/strong> \u003cem>Storyteller\u003c/em>, Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop artist:\u003c/strong> Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop song:\u003c/strong> “Hotline Bling,” Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop album:\u003c/strong> \u003cem>Views\u003c/em>, Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B female artist:\u003c/strong> Rihanna\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B male artist:\u003c/strong> Chris Brown\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B song:\u003c/strong> “Work,” Rihanna feat. Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B album:\u003c/strong> “Anti,” Rihanna\u003c/p>\n\u003cp>\u003cstrong>Latin artist:\u003c/strong> Enrique Iglesias\u003c/p>\n\u003cp>\u003cstrong>Alternative rock:\u003c/strong> Twenty One Pilots\u003cbr>\n\u003cstrong>\u003cbr>\nAdult contemporary:\u003c/strong> Adele\u003c/p>\n\u003cp>\u003cstrong>Contemporary inspirational:\u003c/strong> Hillsong United\u003c/p>\n\u003cp>\u003cstrong>Electronic dance music:\u003c/strong> The Chainsmokers\u003c/p>\n\u003cp>\u003cstrong>Soundtrack:\u003c/strong> \u003cem>Purple Rain\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Award of merit:\u003c/strong> Sting\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "west-rants-about-trump-beyonce-then-cancels-sunday-concert",
"title": "West Rants About Trump, Beyoncé, then Cancels Rest of Tour",
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"content": "\u003cp>Just days after telling fans at a concert that he would have voted for Donald Trump, Kanye West delivered another public screed before abruptly ending a concert in Northern California, then canceled the rest of his tour..\u003c/p>\n\u003cp>Captured on video by concert-goers Saturday night in Sacramento, West in an over 10-minute tirade told the audience he was on his “Trump (expletive) tonight.” He talked about Beyoncé, Jay Z, Hillary Clinton, Mark Zuckerberg, the radio and MTV at the stop of his Saint Pablo Tour.\u003c/p>\n\u003cp>Fans in attendance said on social media that West played only a few songs before ending the show abruptly after only 30 minutes. The angry audience booed, and many are seeking refunds for the aborted show. Some paid around $250 for a pair of tickets.\u003c/p>\n\u003cp>On Sunday night, Ticketmaster announced that West’s show at the Forum in the Los Angeles suburb of Inglewood, California, was cancelled. The ticket vendor gave no explanation for the cancellation.\u003c/p>\n\u003cp>A representative for the rapper said Monday the remaining dates of West’s current tour have been canceled. No reason was given.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tour, now in California and with dates through Dec. 31, had future stops in Dallas, Denver, Atlanta, Philadelphia, Detroit, Boston, New York City and Washington, D.C., among others.\u003c/p>\n\u003cp>Saturday’s outburst and truncated show became a hot topic on Twitter and other social platforms Sunday morning, as amateur videos circulated of West’s rant where, among other things, he said he was hurt because he heard Beyoncé refused to perform at the MTV Video Music Awards unless she won Video of the Year over him. He also urged her husband Jay Z to call him and “talk to me like a man.”\u003c/p>\n\u003cp>West took aim at radio stations for playing the same stuff “over and over and over,” too and also addressed Hillary Clinton.\u003c/p>\n\u003cp>“It’s a new world, Hillary Clinton, it’s a new world,” West said. “Feelings matter. Because guess what? Everybody in middle America felt a way and they showed you how they felt. Feelings matter, bro.”\u003c/p>\n\u003cp>The performer said he was putting his life, career and “public well-standing” at risk by talking to the fans in the audience “like this,” adding that his Saint Pablo tour “is the most relevant (expletive) happening.”\u003c/p>\n\u003cp>He continued: “I am here to change things. And things won’t change until people admit their own falsehoods. I got the visions, bro. That’s what I’ve been blessed with. My vision. I’m not always going to say things the perfect way, the right way. But I’m going to say how I feel.”\u003c/p>\n\u003cp>West’s representatives did not immediately respond to request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after telling fans at a concert that he would have voted for Donald Trump, Kanye West delivered another public screed before abruptly ending a concert in Northern California, then canceled the rest of his tour..\u003c/p>\n\u003cp>Captured on video by concert-goers Saturday night in Sacramento, West in an over 10-minute tirade told the audience he was on his “Trump (expletive) tonight.” He talked about Beyoncé, Jay Z, Hillary Clinton, Mark Zuckerberg, the radio and MTV at the stop of his Saint Pablo Tour.\u003c/p>\n\u003cp>Fans in attendance said on social media that West played only a few songs before ending the show abruptly after only 30 minutes. The angry audience booed, and many are seeking refunds for the aborted show. Some paid around $250 for a pair of tickets.\u003c/p>\n\u003cp>On Sunday night, Ticketmaster announced that West’s show at the Forum in the Los Angeles suburb of Inglewood, California, was cancelled. The ticket vendor gave no explanation for the cancellation.\u003c/p>\n\u003cp>A representative for the rapper said Monday the remaining dates of West’s current tour have been canceled. No reason was given.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tour, now in California and with dates through Dec. 31, had future stops in Dallas, Denver, Atlanta, Philadelphia, Detroit, Boston, New York City and Washington, D.C., among others.\u003c/p>\n\u003cp>Saturday’s outburst and truncated show became a hot topic on Twitter and other social platforms Sunday morning, as amateur videos circulated of West’s rant where, among other things, he said he was hurt because he heard Beyoncé refused to perform at the MTV Video Music Awards unless she won Video of the Year over him. He also urged her husband Jay Z to call him and “talk to me like a man.”\u003c/p>\n\u003cp>West took aim at radio stations for playing the same stuff “over and over and over,” too and also addressed Hillary Clinton.\u003c/p>\n\u003cp>“It’s a new world, Hillary Clinton, it’s a new world,” West said. “Feelings matter. Because guess what? Everybody in middle America felt a way and they showed you how they felt. Feelings matter, bro.”\u003c/p>\n\u003cp>The performer said he was putting his life, career and “public well-standing” at risk by talking to the fans in the audience “like this,” adding that his Saint Pablo tour “is the most relevant (expletive) happening.”\u003c/p>\n\u003cp>He continued: “I am here to change things. And things won’t change until people admit their own falsehoods. I got the visions, bro. That’s what I’ve been blessed with. My vision. I’m not always going to say things the perfect way, the right way. But I’m going to say how I feel.”\u003c/p>\n\u003cp>West’s representatives did not immediately respond to request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many people will tell you that it’s been decades since Berkeley natives Green Day could truly be considered a punk band. (I am one of those people, sometimes — \u003ca href=\"https://ww2.kqed.org/arts/2016/10/21/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre/\" target=\"_blank\" rel=\"noopener\">it’s, well, complicated\u003c/a>.)\u003c/p>\n\u003cp>But no matter what you think of Green Day’s ascent from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman darlings\u003c/a> to major-label rock stardom, it doesn’t mean Billie Joe, Mike Dirnt, and Tre Cool have forgotten how to voice dissent through music. Need proof? The band performed at the American Music Awards in Los Angeles on Sunday, Nov. 20, and took the opportunity to make a highly unambiguous statement about where they stand on the recent presidential election, interrupting their song “Bang Bang” with a recurring chant of “No Trump! / No KKK! / No fascist USA!”\u003c/p>\n\u003cp>Here’s a quick clip of the chant, captured on Twitter.\u003c/p>\n\u003cp>https://twitter.com/ErickFernandez/status/800541942652223488?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>And here’s a video of the full performance below. (Billie Joe Armstrong starts the chant at about 2:15.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eSZ0KzA9e1s\u003c/p>\n\u003cp>Bonus points for local punk fans: some will no doubt recognize the chant as a reference to the song “Born to Die,” by 1980s San Francisco hardcore band MDC. That song begins and ends with the lyrics “No war / No KKK / No fascist USA.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CjOYxqgKceg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Green Day’s \u003cem>Revolution Radio, \u003c/em>the band’s 12th studio album,\u003cem> \u003c/em>was\u003cem> \u003c/em>released just last month. \u003ca href=\"http://www.rollingstone.com/music/features/billie-joe-armstrong-on-green-days-topical-new-lp-w433483\" target=\"_blank\" rel=\"noopener\">Armstrong told\u003cem> Rolling Stone\u003c/em>\u003c/a> that “Bang Bang,” the record’s lead single, is about “the culture of mass shooting that happens in America mixed with narcissistic social media.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many people will tell you that it’s been decades since Berkeley natives Green Day could truly be considered a punk band. (I am one of those people, sometimes — \u003ca href=\"https://ww2.kqed.org/arts/2016/10/21/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre/\" target=\"_blank\" rel=\"noopener\">it’s, well, complicated\u003c/a>.)\u003c/p>\n\u003cp>But no matter what you think of Green Day’s ascent from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman darlings\u003c/a> to major-label rock stardom, it doesn’t mean Billie Joe, Mike Dirnt, and Tre Cool have forgotten how to voice dissent through music. Need proof? The band performed at the American Music Awards in Los Angeles on Sunday, Nov. 20, and took the opportunity to make a highly unambiguous statement about where they stand on the recent presidential election, interrupting their song “Bang Bang” with a recurring chant of “No Trump! / No KKK! / No fascist USA!”\u003c/p>\n\u003cp>Here’s a quick clip of the chant, captured on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And here’s a video of the full performance below. (Billie Joe Armstrong starts the chant at about 2:15.)\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/eSZ0KzA9e1s'\n title='//www.youtube.com/embed/eSZ0KzA9e1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bonus points for local punk fans: some will no doubt recognize the chant as a reference to the song “Born to Die,” by 1980s San Francisco hardcore band MDC. That song begins and ends with the lyrics “No war / No KKK / No fascist USA.”\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/CjOYxqgKceg'\n title='//www.youtube.com/embed/CjOYxqgKceg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Green Day’s \u003cem>Revolution Radio, \u003c/em>the band’s 12th studio album,\u003cem> \u003c/em>was\u003cem> \u003c/em>released just last month. \u003ca href=\"http://www.rollingstone.com/music/features/billie-joe-armstrong-on-green-days-topical-new-lp-w433483\" target=\"_blank\" rel=\"noopener\">Armstrong told\u003cem> Rolling Stone\u003c/em>\u003c/a> that “Bang Bang,” the record’s lead single, is about “the culture of mass shooting that happens in America mixed with narcissistic social media.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Death of a Disco Host",
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"content": "\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tamilla Mirzoyeva didn’t know how to help.\u003c/p>\n\u003cp>She’d seen how Donald Trump’s campaign rhetoric against Mexicans, African Americans, women and others had divided the country and \u003ca href=\"http://www.newyorker.com/news/news-desk/hate-on-the-rise-after-trumps-election\" target=\"_blank\" rel=\"noopener\">spurred racist and xenophobic harassment\u003c/a> after his election win. As one who immigrated from Azerbaijan, a majority Muslim country, when she was 12, she was especially shaken by Trump’s \u003ca href=\"http://www.nytimes.com/politics/first-draft/2015/11/20/donald-trump-says-hed-absolutely-require-muslims-to-register/\" target=\"_blank\" rel=\"noopener\">promise of a Muslim registry\u003c/a> or watch-list.\u003c/p>\n\u003cp>And so, with friends, Mirzoyeva, 28, took a cue from a \u003ca href=\"http://www.nytimes.com/video/nyregion/100000004762238/subway-sticky-notes-offer-post-election-therapy.html\" target=\"_blank\" rel=\"noopener\">subway project in New York\u003c/a> and brought Post-Its and Sharpies to BART stations at 16th and Mission, 24th and Mission and Montgomery Street. On walls and lampposts, they put up a few notes of their own, leaving behind a box of stickies and pens in case others wanted to join the public conversation.\u003c/p>\n\u003cp>Needless to say, people did. What was intended as a one-day event quickly ballooned, and the “Wall of Empathy” project continued for five days.\u003c/p>\n\u003cp>While the Post-Its won’t last in public forever, Mirzoyeva’s \u003ca href=\"https://www.instagram.com/daguerillas/\" target=\"_blank\" rel=\"noopener\">public-art collective\u003c/a> is chronicling each and every note \u003ca href=\"https://www.instagram.com/daguerillas/\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. And this won’t be the last San Francisco sees of acts like this: the collective promises additional upcoming “radical acts of public art to counter the ‘Trump effect.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As one of the notes at 16th and Mission says: “The work starts now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tamilla Mirzoyeva didn’t know how to help.\u003c/p>\n\u003cp>She’d seen how Donald Trump’s campaign rhetoric against Mexicans, African Americans, women and others had divided the country and \u003ca href=\"http://www.newyorker.com/news/news-desk/hate-on-the-rise-after-trumps-election\" target=\"_blank\" rel=\"noopener\">spurred racist and xenophobic harassment\u003c/a> after his election win. As one who immigrated from Azerbaijan, a majority Muslim country, when she was 12, she was especially shaken by Trump’s \u003ca href=\"http://www.nytimes.com/politics/first-draft/2015/11/20/donald-trump-says-hed-absolutely-require-muslims-to-register/\" target=\"_blank\" rel=\"noopener\">promise of a Muslim registry\u003c/a> or watch-list.\u003c/p>\n\u003cp>And so, with friends, Mirzoyeva, 28, took a cue from a \u003ca href=\"http://www.nytimes.com/video/nyregion/100000004762238/subway-sticky-notes-offer-post-election-therapy.html\" target=\"_blank\" rel=\"noopener\">subway project in New York\u003c/a> and brought Post-Its and Sharpies to BART stations at 16th and Mission, 24th and Mission and Montgomery Street. On walls and lampposts, they put up a few notes of their own, leaving behind a box of stickies and pens in case others wanted to join the public conversation.\u003c/p>\n\u003cp>Needless to say, people did. What was intended as a one-day event quickly ballooned, and the “Wall of Empathy” project continued for five days.\u003c/p>\n\u003cp>While the Post-Its won’t last in public forever, Mirzoyeva’s \u003ca href=\"https://www.instagram.com/daguerillas/\" target=\"_blank\" rel=\"noopener\">public-art collective\u003c/a> is chronicling each and every note \u003ca href=\"https://www.instagram.com/daguerillas/\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. And this won’t be the last San Francisco sees of acts like this: the collective promises additional upcoming “radical acts of public art to counter the ‘Trump effect.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As one of the notes at 16th and Mission says: “The work starts now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293554649″ 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>We’re always left with a few great items that don’t make the main list. Jazz pianist Larry Vuckovich is celebrating his 80th birthday, fingers still flying on the keyboards, on Sunday, Nov. 20, at the \u003ca href=\"http://www.bachddsoc.org/calendar.html#Larry-Vuckovich\" target=\"_blank\" rel=\"noopener\">Bach Dancing and Dynamite Society\u003c/a> in Half Moon Bay and Sunday, Dec. 4, at \u003ca href=\"http://piedmontpiano.com/concerts/161204larryvuckovich80bday.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano\u003c/a> in Oakland. Opera Parallele presents \u003cem>Xochitl and the Flowers\u003c/em>, a kid’s opera with children performers, for free \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">on Sunday, Nov. 20\u003c/a>. And Classical Revolution, the San Francisco group that pioneered classical music in bars and clubs around the country, celebrates its 10th anniversary with a \u003ca href=\"http://classicalrevolution.org\" target=\"_blank\" rel=\"noopener\">free performance of Beethoven’s Ninth Symphony\u003c/a> at Grace Cathedral. Now the best of the rest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_IkLUOsNHAA\u003c/p>\n\u003cp>\u003cstrong>Nov. 22 and 23\u003c/strong>: The \u003ca href=\"https://www.berliner-philharmoniker.de/en/\" target=\"_blank\" rel=\"noopener\">Berlin Philharmonic\u003c/a> is one of the world’s great orchestras, and unique in that the musicians pick their own conductor. And this is a goodbye tour for their current choice, the great Simon Rattle, who is stepping down at the end of 2017. They’re bringing a challenging program: Webern, Boulez, Berg and Schoenberg, sweetened with Brahms and Mahler. But trust them, this tightly knit orchestra can make sense out of music that baffles lesser musicians. Details for their Davies Hall concerts Nov. 22nd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-22.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and on Nov. 23rd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-23.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12359544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg\" alt=\"Khary Moye and Margo Hall. star in Word for Word's production of All 'Aunt Hagar's Children' at Z Space\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1920x1210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Margo Hall. star in Word for Word’s production of ‘All Aunt Hagar’s Children’ at Z Space \u003ccite>(Photo: Mel Solomon/Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 17–Dec. 11\u003c/strong>: Edward P. Jones’ “All Aunt Hagar’s Children” is a terrific noir short story (first published \u003ca href=\"http://www.newyorker.com/magazine/2003/12/22/all-aunt-hagars-children\" target=\"_blank\" rel=\"noopener\">in the \u003cem>New Yorker\u003c/em>\u003c/a> in 2003) about a Korean War veteran, an African American, who tries to solve the murder of a cousin and finds out more than he wanted to about his family. Now, \u003ca href=\"https://ww2.kqed.org/spark/word-for-word/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — the San Francisco company where the actors transform short stories into great drama — performs Jones’ story, in which the nameless hero also deals with class and race issues. You know you’re in good hands with Margo Hall (co-directing), Velina Brown, and Edris Cooper-Anifowoshe in the cast. And there’s a \u003ca href=\"http://www.zspace.org/gala2016\" target=\"_blank\" rel=\"noopener\">special performance\u003c/a> with Edward P. Jones in conversation with journalist Belva Davis on Dec. 1. Details for the Word for Word production at Z Space are\u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iaIUysAS7hs\u003c/p>\n\u003cp>\u003cstrong>Nov. 20 and Dec 4:\u003c/strong> Klezmer music always makes me think of weddings and good parties. This relic of shtetl culture was in danger of dying out in the 20th century, along with \u003ca href=\"http://www.yiddishbookcenter.org/\" target=\"_blank\" rel=\"noopener\">Yiddish\u003c/a>, but groups like \u003ca href=\"http://www.klezcalifornia.org/home\" target=\"_blank\" rel=\"noopener\">KlezCalifornia\u003c/a>, both an organization and an annual festival, have helped revive the music and the language. The festival is a pair of concerts and workshops, featuring comedy, Yiddish songs, storytelling, and yes, you’ll probably have to dance in a big circle at some point. It’s also a chance to see my favorite Jewish lesbian comedian juggler Sara Felder — a true shayna punim. Details for the concerts on Sunday, Nov. 20, at the Osher Marin JCC in San Rafael, and Sunday, Dec. 4, at the JCC East Bay in Berkeley are \u003ca href=\"http://www.klezcalifornia.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F1jiulKLsJY\u003c/p>\n\u003cp>\u003cstrong>Ongoing\u003c/strong>: We’re celebrating a new museum on the outskirts of the Bay Area — UC Davis’ new Minetti Shrem Museum. For the opening, they’ve tapped a great legacy of work by UC Davis faculty, including some revolutionary figures who taught there in the Art Department’s early years like Wayne Thiebaud, Robert Arneson, William T. Wiley, Manuel Neri, Ruth Horsting, and Jane Garritson. The show \u003cem>Out Our Way \u003c/em>featuring their work is on view through March 26. I’m also fascinated by \u003cem>Hoof and Foot\u003c/em>, a giant video piece by Bay Area artist Chris Sollars, about the comparisons in how animals and students learn. (UC Davis also has a top veterinary school.) Details for exhibits at the Minetti Shrem Museum, which is always free, are\u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/exhibitions.html\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/189379134\u003c/p>\n\u003cp>\u003cstrong>Nov 18–20\u003c/strong>: \u003ca href=\"http://www.bamuthi.com/#!slide-5\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a> is a Bay Area treasure — \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Chief of Program and Pedagogy\u003c/a> at the Yerba Buena Center for the Arts, and a terrific choreographer, dancer and poet. He’s got a new piece called \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">/peh-LO-tah/ — a futbol framed freedom suite\u003c/a>\u003c/em>, about soccer as a sport of joy for kids, but also the place where the Third World meets the First World in a haze of corruption. “Soccer is an extended metaphor,” Bamuthi told me before starting a day of rehearsals. “Moving without the ball is an immigrant story. Being focused on your goal, without being in possession, that’s an immigrant story. So the piece is deeply emotional, but also deeply political in its scope and ambition.” If that sounds too analytical, go anyway. Bamuthi’s dance/plays are always as moving as they are thoughtful. Details for /peh-LO-tah/ at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bSOl7yp5QwA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18\u003c/strong>: Jay Som is the stage name for the multi-talented dream-pop singer and songwriter Melinda Duterte. She grew up in Brentwood and recently moved to San Francisco, so it’s heartening to find we haven’t gentrified everyone out of town yet. Duterte \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">just reissued\u003c/a> her Bandcamp debut \u003cem>Turn Into\u003c/em>, plus she’s got her first music video out (see above). This is handcrafted music, mostly recorded at her home, and wonderfully spooky in the way it mixes memory and heartache. One review called her songs “gorgeous tearjerkers,” and I couldn’t agree more. Details for her show at the Brick & Mortar Music Hall are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6937935&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Marc Bamuthi Joseph's new play, the Berlin Philharmonic, the new Manetti Shrem museum and more.",
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"title": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer | KQED",
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"headline": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/293554649″&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/293554649″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We’re always left with a few great items that don’t make the main list. Jazz pianist Larry Vuckovich is celebrating his 80th birthday, fingers still flying on the keyboards, on Sunday, Nov. 20, at the \u003ca href=\"http://www.bachddsoc.org/calendar.html#Larry-Vuckovich\" target=\"_blank\" rel=\"noopener\">Bach Dancing and Dynamite Society\u003c/a> in Half Moon Bay and Sunday, Dec. 4, at \u003ca href=\"http://piedmontpiano.com/concerts/161204larryvuckovich80bday.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano\u003c/a> in Oakland. Opera Parallele presents \u003cem>Xochitl and the Flowers\u003c/em>, a kid’s opera with children performers, for free \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">on Sunday, Nov. 20\u003c/a>. And Classical Revolution, the San Francisco group that pioneered classical music in bars and clubs around the country, celebrates its 10th anniversary with a \u003ca href=\"http://classicalrevolution.org\" target=\"_blank\" rel=\"noopener\">free performance of Beethoven’s Ninth Symphony\u003c/a> at Grace Cathedral. Now the best of the rest.\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/_IkLUOsNHAA'\n title='//www.youtube.com/embed/_IkLUOsNHAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 22 and 23\u003c/strong>: The \u003ca href=\"https://www.berliner-philharmoniker.de/en/\" target=\"_blank\" rel=\"noopener\">Berlin Philharmonic\u003c/a> is one of the world’s great orchestras, and unique in that the musicians pick their own conductor. And this is a goodbye tour for their current choice, the great Simon Rattle, who is stepping down at the end of 2017. They’re bringing a challenging program: Webern, Boulez, Berg and Schoenberg, sweetened with Brahms and Mahler. But trust them, this tightly knit orchestra can make sense out of music that baffles lesser musicians. Details for their Davies Hall concerts Nov. 22nd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-22.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and on Nov. 23rd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-23.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12359544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg\" alt=\"Khary Moye and Margo Hall. star in Word for Word's production of All 'Aunt Hagar's Children' at Z Space\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1920x1210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Margo Hall. star in Word for Word’s production of ‘All Aunt Hagar’s Children’ at Z Space \u003ccite>(Photo: Mel Solomon/Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 17–Dec. 11\u003c/strong>: Edward P. Jones’ “All Aunt Hagar’s Children” is a terrific noir short story (first published \u003ca href=\"http://www.newyorker.com/magazine/2003/12/22/all-aunt-hagars-children\" target=\"_blank\" rel=\"noopener\">in the \u003cem>New Yorker\u003c/em>\u003c/a> in 2003) about a Korean War veteran, an African American, who tries to solve the murder of a cousin and finds out more than he wanted to about his family. Now, \u003ca href=\"https://ww2.kqed.org/spark/word-for-word/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — the San Francisco company where the actors transform short stories into great drama — performs Jones’ story, in which the nameless hero also deals with class and race issues. You know you’re in good hands with Margo Hall (co-directing), Velina Brown, and Edris Cooper-Anifowoshe in the cast. And there’s a \u003ca href=\"http://www.zspace.org/gala2016\" target=\"_blank\" rel=\"noopener\">special performance\u003c/a> with Edward P. Jones in conversation with journalist Belva Davis on Dec. 1. Details for the Word for Word production at Z Space are\u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iaIUysAS7hs'\n title='//www.youtube.com/embed/iaIUysAS7hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 20 and Dec 4:\u003c/strong> Klezmer music always makes me think of weddings and good parties. This relic of shtetl culture was in danger of dying out in the 20th century, along with \u003ca href=\"http://www.yiddishbookcenter.org/\" target=\"_blank\" rel=\"noopener\">Yiddish\u003c/a>, but groups like \u003ca href=\"http://www.klezcalifornia.org/home\" target=\"_blank\" rel=\"noopener\">KlezCalifornia\u003c/a>, both an organization and an annual festival, have helped revive the music and the language. The festival is a pair of concerts and workshops, featuring comedy, Yiddish songs, storytelling, and yes, you’ll probably have to dance in a big circle at some point. It’s also a chance to see my favorite Jewish lesbian comedian juggler Sara Felder — a true shayna punim. Details for the concerts on Sunday, Nov. 20, at the Osher Marin JCC in San Rafael, and Sunday, Dec. 4, at the JCC East Bay in Berkeley are \u003ca href=\"http://www.klezcalifornia.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F1jiulKLsJY'\n title='//www.youtube.com/embed/F1jiulKLsJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Ongoing\u003c/strong>: We’re celebrating a new museum on the outskirts of the Bay Area — UC Davis’ new Minetti Shrem Museum. For the opening, they’ve tapped a great legacy of work by UC Davis faculty, including some revolutionary figures who taught there in the Art Department’s early years like Wayne Thiebaud, Robert Arneson, William T. Wiley, Manuel Neri, Ruth Horsting, and Jane Garritson. The show \u003cem>Out Our Way \u003c/em>featuring their work is on view through March 26. I’m also fascinated by \u003cem>Hoof and Foot\u003c/em>, a giant video piece by Bay Area artist Chris Sollars, about the comparisons in how animals and students learn. (UC Davis also has a top veterinary school.) Details for exhibits at the Minetti Shrem Museum, which is always free, are\u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/exhibitions.html\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Nov 18–20\u003c/strong>: \u003ca href=\"http://www.bamuthi.com/#!slide-5\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a> is a Bay Area treasure — \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Chief of Program and Pedagogy\u003c/a> at the Yerba Buena Center for the Arts, and a terrific choreographer, dancer and poet. He’s got a new piece called \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">/peh-LO-tah/ — a futbol framed freedom suite\u003c/a>\u003c/em>, about soccer as a sport of joy for kids, but also the place where the Third World meets the First World in a haze of corruption. “Soccer is an extended metaphor,” Bamuthi told me before starting a day of rehearsals. “Moving without the ball is an immigrant story. Being focused on your goal, without being in possession, that’s an immigrant story. So the piece is deeply emotional, but also deeply political in its scope and ambition.” If that sounds too analytical, go anyway. Bamuthi’s dance/plays are always as moving as they are thoughtful. Details for /peh-LO-tah/ at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bSOl7yp5QwA'\n title='//www.youtube.com/embed/bSOl7yp5QwA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18\u003c/strong>: Jay Som is the stage name for the multi-talented dream-pop singer and songwriter Melinda Duterte. She grew up in Brentwood and recently moved to San Francisco, so it’s heartening to find we haven’t gentrified everyone out of town yet. Duterte \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">just reissued\u003c/a> her Bandcamp debut \u003cem>Turn Into\u003c/em>, plus she’s got her first music video out (see above). This is handcrafted music, mostly recorded at her home, and wonderfully spooky in the way it mixes memory and heartache. One review called her songs “gorgeous tearjerkers,” and I couldn’t agree more. Details for her show at the Brick & Mortar Music Hall are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6937935&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "6 Feet of Sea Level Rise? VR Shows How it Might Look in Santa Monica",
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"content": "\u003cp>A new virtual reality experience on the Santa Monica Pier shows people what a century of climate change is likely to do to the coastline along Santa Monica Beach.\u003c/p>\n\u003cp>A pair of binocular viewfinders unveiled Wednesday give a 360-degree view of the iconic beach and show what it’s predicted to look like as sea levels rise by 6 feet and storms flood the area.\u003c/p>\n\u003cp>The project — managed by the U.S. Geological Survey, USC and the City of Santa Monica — hopes to make the seemingly far-off effects of global warming feel more immediate.\u003c/p>\n\u003cp>“This is a unique way of being able to see what our true vulnerabilities will be looking into the future,” explained Juliette Finzi Hart with USGS.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UINJmxH4bC4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Visitors to the installation look through the viewfinders and first see the beach as it is today. Subsequent images show how the beach is expected to change as the effects of man-made climate change take hold.\u003c/p>\n\u003cp>By some estimates, sea levels off the California coast could rise by 6 feet over the next century, Finzi Hart said.\u003c/p>\n\u003cp>The demonstration also shows how storm surges could push tides even farther inland. It ends by showing a potential way to mitigate coastal flooding.\u003c/p>\n\u003cfigure id=\"attachment_11179013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/144776-full-800x434.jpg\" alt=\"A diagram showing potential sea level rise.\" width=\"800\" height=\"434\" class=\"size-medium wp-image-11179013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-1020x554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diagram showing potential sea level rise.\u003cbr> \u003ccite>(CLIMATE EDUCATION PARTNERS (AND ADAPTED BY THE CITY OF SANTA MONICA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along the way, the program asks the viewer a series of questions to help city planners and researchers gain insight on how the public feels about this issue.\u003c/p>\n\u003cp>The project cost around $50,000 and the bulk of it was paid for by the City of Santa Monica itself, according to Finzi Hart.\u003c/p>\n\u003cp>“We want people to get an idea of what they face going forward so wise decision-making can take place,” said Phyllis Grifman with the Sea Grant program at USC.\u003c/p>\n\u003cp>Grifman said the city is interested in educating people on the challenges posed by sea level rise, so the public will be more engaged when it comes time to develop potentially costly and difficult solutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This technology runs on a VR platform called “The Owl.” Similar displays have been used in Marin and San Mateo counties. It’s free and will be up through December.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new virtual reality experience on the Santa Monica Pier shows people what a century of climate change is likely to do to the coastline along Santa Monica Beach.\u003c/p>\n\u003cp>A pair of binocular viewfinders unveiled Wednesday give a 360-degree view of the iconic beach and show what it’s predicted to look like as sea levels rise by 6 feet and storms flood the area.\u003c/p>\n\u003cp>The project — managed by the U.S. Geological Survey, USC and the City of Santa Monica — hopes to make the seemingly far-off effects of global warming feel more immediate.\u003c/p>\n\u003cp>“This is a unique way of being able to see what our true vulnerabilities will be looking into the future,” explained Juliette Finzi Hart with USGS.\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/UINJmxH4bC4'\n title='//www.youtube.com/embed/UINJmxH4bC4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Visitors to the installation look through the viewfinders and first see the beach as it is today. Subsequent images show how the beach is expected to change as the effects of man-made climate change take hold.\u003c/p>\n\u003cp>By some estimates, sea levels off the California coast could rise by 6 feet over the next century, Finzi Hart said.\u003c/p>\n\u003cp>The demonstration also shows how storm surges could push tides even farther inland. It ends by showing a potential way to mitigate coastal flooding.\u003c/p>\n\u003cfigure id=\"attachment_11179013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/144776-full-800x434.jpg\" alt=\"A diagram showing potential sea level rise.\" width=\"800\" height=\"434\" class=\"size-medium wp-image-11179013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-1020x554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/144776-full.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diagram showing potential sea level rise.\u003cbr> \u003ccite>(CLIMATE EDUCATION PARTNERS (AND ADAPTED BY THE CITY OF SANTA MONICA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along the way, the program asks the viewer a series of questions to help city planners and researchers gain insight on how the public feels about this issue.\u003c/p>\n\u003cp>The project cost around $50,000 and the bulk of it was paid for by the City of Santa Monica itself, according to Finzi Hart.\u003c/p>\n\u003cp>“We want people to get an idea of what they face going forward so wise decision-making can take place,” said Phyllis Grifman with the Sea Grant program at USC.\u003c/p>\n\u003cp>Grifman said the city is interested in educating people on the challenges posed by sea level rise, so the public will be more engaged when it comes time to develop potentially costly and difficult solutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This technology runs on a VR platform called “The Owl.” Similar displays have been used in Marin and San Mateo counties. It’s free and will be up through December.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "why-palo-alto-subsidizes-studio-rents-for-priced-out-artists",
"title": "Why Palo Alto Subsidizes Studio Rents for Priced Out Artists",
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"content": "\u003cp>Barbara Goldstein is a good person to talk to if you want to get a perspective on Silicon Valley’s public art scene. Goldstein served as San Jose’s public art director from 2004 to 2013, and recently co-wrote Palo Alto’s public art plan.\u003c/p>\n\u003cp>With each passing year, Goldstein says, there are fewer places for working artists to operate in. “Any privately owned space is going to be extremely tenuous for an artist — or for anything that serves the social good,” Goldstein says. “Anything that does not bring in humongous amount of revenue is going to be threatened by a rising real estate market.”\u003c/p>\n\u003cp>The median home value in Palo Alto is roughly $2.5 million dollars. The longer the tech boom continues, the more condo complexes and high-end office buildings will crowd out the funky, older places where artists tend to work.\u003c/p>\n\u003cp>Some artists are lucky enough to own a home with a spare bedroom or a garage to work in. But community doesn’t come easy in a suburban environment like Silicon Valley. Many artists say they feel culturally isolated — not just from each other, but also from their customers and curators.\u003c/p>\n\u003cp>That’s where the campus of Ellwood P. Cubberley High School in Palo Alto comes in. Cubberley hasn’t served as a high school since 1979. Today, the building is a bustling multi-purpose community center offering all sorts of programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The facility offers line dancing classes, Chinese language classes, day care, senior care, and more. “We have 10 performing arts groups that have space here where they teach,” says Rhyena Halpern, who oversees arts and science programs for the City of Palo Alto. “We have \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/facilities/cubberley_theatre.asp\" target=\"_blank\" rel=\"noopener\">Cubberley Theatre, \u003c/a>where they perform.”\u003c/p>\n\u003cp>Cubberley is also home to 24 subsidized \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\" target=\"_blank\" rel=\"noopener\">artist studios\u003c/a>. The city charges a third of the market rate for an old building in Palo Alto — less than a dollar a square foot.\u003c/p>\n\u003cfigure id=\"attachment_12318269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12318269\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-800x618.jpg\" alt=\"Cubberley is also home to 24 subsidized artist studios. The city charges a third of the market rate for an old building in Palo Alto: less than a dollar a square foot. The city also organizes events like open studios to drive foot traffic and art sales.\" width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut.jpg 921w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palo Alto organizes open studio events like this one to drive foot traffic and art sales. \u003ccite>(Photo: Courtesy of Arts & Sciences Division, City of Palo Alto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists do all kinds of work at the city-owned studios, including woodcut prints, digital paintings, photography, video, performance, book-making, and sculpture. Residencies typically last four years.\u003c/p>\n\u003cp>Halpern says a panel of experts selects artists for the program. “We have different standards of selection that rely on your history of exhibition, your contribution to the field, and the quality of your artwork.”\u003c/p>\n\u003cp>Of course, a couple dozen studios won’t change overall real estate trends in a city where top-of-the-line commercial office space rents for just under $100 a square foot. But Cubberley does make a big difference to the lives of individual artists, like Palo Alto abstract expressionist painter \u003ca href=\"http://sahbashere.com/\" target=\"_blank\" rel=\"noopener\">Sahba Shere\u003c/a>.\u003c/p>\n\u003cp>Shere occupies an old chemistry classroom at Cubberley, where there’s plenty of wall space for paintings that are dynamic, colorful and large-scale; some of Shere’s canvases stretch six feet wide and five feet tall.\u003c/p>\n\u003cfigure id=\"attachment_12313344\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12313344\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut.jpg\" alt='Detail of \"seeing through fixed\" by Palo Alto abstract expressionist painter Sahba Shere.' width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut-375x211.jpg 375w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “seeing through fixed” by Palo Alto abstract expressionist painter Sahba Shere. \u003ccite>(Photo: Courtesy of Sahba Shere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shere does pretty well, financially speaking, because she has corporate clients. But that’s not the case for most artists based in Silicon Valley\u003ci> \u003c/i>. “I don’t know if you can really live here, on an artist’s salary,” Shere says. “But Palo Alto is helping, and the fact that we have this community is just invaluable.”\u003c/p>\n\u003cp>That’s a common refrain at Cubberley. And Shere, who originally hails from Winnipeg, Canada, takes the concept one step further. She organizes a salon in her chemistry class, where people are invited to discuss literature, art, the homeless crisis — whatever seems topical.\u003c/p>\n\u003cp>At one recent salon, tech executive Shubhra Sinha performed Kathak, a form of Indian classical dance.\u003c/p>\n\u003cp>Shere says the salons inspire her and others. “It’s quite lovely, and it really translates into my work,” Shere says. “I think it’s part of art; sharing with like-minded people is important.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=FDGlU2_oRts]\u003c/p>\n\u003cp>Palo Alto is unusual among Silicon Valley municipalities to support artists in this way. “It’s really imperative that we make sure that this is a place where artists can live, where arts organizations can not just stay alive, but thrive,” Halpern says.\u003c/p>\n\u003cp>Cubberley is hardly the only publicly owned arts community. There are similar examples around the state, like the \u003ca href=\"http://angelsgateart.org/\" target=\"_blank\" rel=\"noopener\">Angels Gate Cultural Center\u003c/a> in Southern California. But Goldstein wants to see more of the same in Silicon Valley and the broader Bay Area. “Cubberly Artists Studios is a really good example of something that could work for artists all over this region,” Goldstein says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldstein is not averse to help coming from private bodies either — as with the \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> in San Francisco, the \u003ca href=\"https://citadelartstudios.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Citadel Art Studios\u003c/a> in San Jose, or the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center \u003c/a>in Santa Cruz. But she warns that these entities face the same market pressures other private landlords do. Eventually, a real estate developer might make an offer they can’t refuse.\u003c/p>\n\n",
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"headline": "Why Palo Alto Subsidizes Studio Rents for Priced Out Artists",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barbara Goldstein is a good person to talk to if you want to get a perspective on Silicon Valley’s public art scene. Goldstein served as San Jose’s public art director from 2004 to 2013, and recently co-wrote Palo Alto’s public art plan.\u003c/p>\n\u003cp>With each passing year, Goldstein says, there are fewer places for working artists to operate in. “Any privately owned space is going to be extremely tenuous for an artist — or for anything that serves the social good,” Goldstein says. “Anything that does not bring in humongous amount of revenue is going to be threatened by a rising real estate market.”\u003c/p>\n\u003cp>The median home value in Palo Alto is roughly $2.5 million dollars. The longer the tech boom continues, the more condo complexes and high-end office buildings will crowd out the funky, older places where artists tend to work.\u003c/p>\n\u003cp>Some artists are lucky enough to own a home with a spare bedroom or a garage to work in. But community doesn’t come easy in a suburban environment like Silicon Valley. Many artists say they feel culturally isolated — not just from each other, but also from their customers and curators.\u003c/p>\n\u003cp>That’s where the campus of Ellwood P. Cubberley High School in Palo Alto comes in. Cubberley hasn’t served as a high school since 1979. Today, the building is a bustling multi-purpose community center offering all sorts of programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The facility offers line dancing classes, Chinese language classes, day care, senior care, and more. “We have 10 performing arts groups that have space here where they teach,” says Rhyena Halpern, who oversees arts and science programs for the City of Palo Alto. “We have \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/facilities/cubberley_theatre.asp\" target=\"_blank\" rel=\"noopener\">Cubberley Theatre, \u003c/a>where they perform.”\u003c/p>\n\u003cp>Cubberley is also home to 24 subsidized \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\" target=\"_blank\" rel=\"noopener\">artist studios\u003c/a>. The city charges a third of the market rate for an old building in Palo Alto — less than a dollar a square foot.\u003c/p>\n\u003cfigure id=\"attachment_12318269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12318269\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-800x618.jpg\" alt=\"Cubberley is also home to 24 subsidized artist studios. The city charges a third of the market rate for an old building in Palo Alto: less than a dollar a square foot. The city also organizes events like open studios to drive foot traffic and art sales.\" width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21897_Open-House-qut.jpg 921w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palo Alto organizes open studio events like this one to drive foot traffic and art sales. \u003ccite>(Photo: Courtesy of Arts & Sciences Division, City of Palo Alto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists do all kinds of work at the city-owned studios, including woodcut prints, digital paintings, photography, video, performance, book-making, and sculpture. Residencies typically last four years.\u003c/p>\n\u003cp>Halpern says a panel of experts selects artists for the program. “We have different standards of selection that rely on your history of exhibition, your contribution to the field, and the quality of your artwork.”\u003c/p>\n\u003cp>Of course, a couple dozen studios won’t change overall real estate trends in a city where top-of-the-line commercial office space rents for just under $100 a square foot. But Cubberley does make a big difference to the lives of individual artists, like Palo Alto abstract expressionist painter \u003ca href=\"http://sahbashere.com/\" target=\"_blank\" rel=\"noopener\">Sahba Shere\u003c/a>.\u003c/p>\n\u003cp>Shere occupies an old chemistry classroom at Cubberley, where there’s plenty of wall space for paintings that are dynamic, colorful and large-scale; some of Shere’s canvases stretch six feet wide and five feet tall.\u003c/p>\n\u003cfigure id=\"attachment_12313344\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12313344\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut.jpg\" alt='Detail of \"seeing through fixed\" by Palo Alto abstract expressionist painter Sahba Shere.' width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS21832_seeingthroughfixed-qut-375x211.jpg 375w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “seeing through fixed” by Palo Alto abstract expressionist painter Sahba Shere. \u003ccite>(Photo: Courtesy of Sahba Shere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shere does pretty well, financially speaking, because she has corporate clients. But that’s not the case for most artists based in Silicon Valley\u003ci> \u003c/i>. “I don’t know if you can really live here, on an artist’s salary,” Shere says. “But Palo Alto is helping, and the fact that we have this community is just invaluable.”\u003c/p>\n\u003cp>That’s a common refrain at Cubberley. And Shere, who originally hails from Winnipeg, Canada, takes the concept one step further. She organizes a salon in her chemistry class, where people are invited to discuss literature, art, the homeless crisis — whatever seems topical.\u003c/p>\n\u003cp>At one recent salon, tech executive Shubhra Sinha performed Kathak, a form of Indian classical dance.\u003c/p>\n\u003cp>Shere says the salons inspire her and others. “It’s quite lovely, and it really translates into my work,” Shere says. “I think it’s part of art; sharing with like-minded people is important.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FDGlU2_oRts'\n title='//www.youtube.com/embed/FDGlU2_oRts'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Palo Alto is unusual among Silicon Valley municipalities to support artists in this way. “It’s really imperative that we make sure that this is a place where artists can live, where arts organizations can not just stay alive, but thrive,” Halpern says.\u003c/p>\n\u003cp>Cubberley is hardly the only publicly owned arts community. There are similar examples around the state, like the \u003ca href=\"http://angelsgateart.org/\" target=\"_blank\" rel=\"noopener\">Angels Gate Cultural Center\u003c/a> in Southern California. But Goldstein wants to see more of the same in Silicon Valley and the broader Bay Area. “Cubberly Artists Studios is a really good example of something that could work for artists all over this region,” Goldstein says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldstein is not averse to help coming from private bodies either — as with the \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> in San Francisco, the \u003ca href=\"https://citadelartstudios.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Citadel Art Studios\u003c/a> in San Jose, or the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center \u003c/a>in Santa Cruz. But she warns that these entities face the same market pressures other private landlords do. Eventually, a real estate developer might make an offer they can’t refuse.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
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