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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/295780691″ 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 holiday season and circus are deeply connected for me, because this is the time of year when the late, great \u003ca href=\"http://www.foundsf.org/index.php?title=Pickle_Family_Circus:_Origins_and_Influence\" target=\"_blank\" rel=\"noopener\">Pickle Family Circus \u003c/a>always presented a show. But we have some terrific replacements this year, deeply influenced by the Pickles. My first choice is the scrappy and intimate \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts Center’s show \u003cem>Inversion\u003c/em>\u003c/a> in West Oakland, which we profiled a few weeks ago. But don’t overlook Cirque du Soleil’s gorgeous, extravagant and funny \u003cem>Luzia. \u003c/em>Just note that the death of stage technician Olivier Rochette on Tuesday night (Nov. 29) has forced the company to suspend performances for a few days. Now for this week’s show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pvtmGU1Co4E\u003c/p>\n\u003cp>\u003cstrong>Dec. 7: \u003c/strong>\u003ca href=\"http://www.handsomefamily.com/\" target=\"_blank\" rel=\"noopener\">The Handsome Family\u003c/a>’s Brett Sparks always sings a little off-key to my ear. But it’s in the same way folk-protest singer\u003ca href=\"https://en.wikipedia.org/wiki/Phil_Ochs\" target=\"_blank\" rel=\"noopener\"> Phil Ochs \u003c/a>was off; it doesn’t matter because the songs are so full of heart and humanity. He and his bandmate and wife Rennie (who writes the surreal, sometimes somber lyrics) got a huge boost when \u003ca href=\"http://www.hbo.com/true-detective\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>True Detective\u003c/em>\u003c/a> made their single “Far From Any Road” the theme song for the show’s first season. They live in Albuquerque, and don’t like to tour much, but they’ve got a 10th album with songs, Rennie says, about “things we cannot see,” and it’s terrific. Details for their show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/the-handsome-family-gamh-w-drunken-prayer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-SKjq1A-sVU\u003c/p>\n\u003cp>\u003cstrong>Dec. 5\u003c/strong>: Monday nights can be kind of depressing, with the work week stretching before us. But I have an antidote for this week: comedian Jackie Kashian. She’s a smart, funny woman who likes to gently poke white privilege and nerdiness. Her husband’s a game designer, and she hosts the podcast \u003cem>\u003ca href=\"http://tdf.libsyn.com/\" target=\"_blank\" rel=\"noopener\">The Dork Forest\u003c/a>, \u003c/em>a tribute to geeks and pop culture freaks. Details for her Monday night show at Doc’s Lab are \u003ca href=\"http://www.docslabsf.com/event/1320599-comedian-jackie-kashian-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>Cheap Thrill\u003c/strong>, with tickets just $12-$15.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HaU70Qeb0Cc\u003c/p>\n\u003cp>\u003cstrong>Dec. 2, 8 and 9: \u003c/strong>Comedian \u003ca href=\"https://www.lewisblack.com/\" target=\"_blank\" rel=\"noopener\">Lewis Black\u003c/a> nailed the dynamics of this past campaign season as well or better than any other commentator. And he’s a great relief valve for our own frustrations and anxieties, because he’s so righteously \u003cstrong>angry\u003c/strong> about it. As our producer Suzie Racho says, he looks a walking heart attack, so catch him before he self-destructs. Details here for his three Bay Area shows: Dec. 2 at the\u003ca href=\"http://concerts.livenation.com/event/1C005093CAE56029\" target=\"_blank\" rel=\"noopener\"> Masonic Auditorium in San Francisco\u003c/a>, Dec. 8 at the \u003ca href=\"http://www.uptowntheatrenapa.com/event/lewis-black-2/\" target=\"_blank\" rel=\"noopener\">Uptown Theater in Napa\u003c/a>, and Dec. 9 at the \u003ca href=\"https://goldenstatetheatre.showare.com/eventperformances.asp?evt=95\" target=\"_blank\" rel=\"noopener\">Golden State Theatre in Monterey\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PrJTmpt43hg\u003c/p>\n\u003cp>\u003cstrong>Dec. 2 and 4\u003c/strong>: Baroque composers wrestled with the same moral dilemmas as we do now. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Indian_Queen_(opera)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Indian Queen\u003c/em>\u003c/a>, Henry Purcell (1659-1695) asked “Why should men quarrel here where all possess as much as they can hope for by success?” Mezzo-soprano \u003ca href=\"http://joycedidonato.com/in-war-peace/\" target=\"_blank\" rel=\"noopener\">Joyce DiDonato\u003c/a> performs an excerpt from \u003cem>The Indian Queen\u003c/em> as part of a suite of songs on war and peace on her new CD and tour, inspired by the attacks on Paris a year ago. (Check out Steven Winn’s\u003ca href=\"http://www.sfchronicle.com/performance/article/Joyce-DiDonato-to-perform-In-War-and-Peace-10634769.php\" target=\"_blank\" rel=\"noopener\"> preview \u003c/a>for the show in the \u003cem>San Francisco Chronicle\u003c/em>.) She’s joined forces with the period-instrument ensemble Il Pomo d’Oro, stage director Ralf Pleger, choreographer-dancer Manuel Palazzo and costume designer Vivienne Westwood to create a thoroughly theatrical recital. Details for her show tonight at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/december-2016/joyce-didonato-and-il-pomo-doro\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for her Sunday afternoon concert at Zellerbach Hall in Berkeley \u003ca href=\"https://calperformances.org/performances/2016-17/early-music/joyce-didonato-il-pomo-doro-war-and-peace-harmony-through-music.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12424060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12424060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-800x450.jpg\" alt=\"'Miss Bennet: Christmas at Pemberley' features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss Bennet: Christmas at Pemberley’ features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer) \u003ccite>(Photo: Kevin Berne/Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Dec. 23\u003c/strong>: Last year, the Bay Area’s \u003ca href=\"http://laurengunderson.com/\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> was the second most-produced living playwright in the country. She’s prolific, profound, and often funny. She’s got a new show, co-written with \u003ca href=\"http://zff.org/announcements/margot-melcon-joins-zff/\" target=\"_blank\" rel=\"noopener\">Margot Melcon\u003c/a>, called \u003cem>Miss Bennet: Christmas at Pemberley\u003c/em>. It’s an update on Jane Austen’s \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride and Prejudice\u003c/em>\u003c/a>, and Gunderson says it’s her and Melcon’s stab at the perfect Christmas play — a witty love story, set during the Christmas season, blending sentiment and smarts. And yes, it’s a bit of an escape from the anxieties of this past election season. “But the day after the election, going into rehearsal,” Gunderson tells me by phone, “we realized this play is more appropriate in part because it is still rare to have a lot of women on stage not talking about men, but talking about their own futures, their own agency, their own ambitions, and their own hearts.” Details for \u003cem>Miss Bennet\u003c/em> at Marin Theatre Co. are \u003ca href=\"http://www.marintheatre.org/productions/miss-bennet-christmas-at-pemberly\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w1G_5cDlWeM\u003c/p>\n\u003cp>\u003cstrong>Dec. 8\u003c/strong>: \u003ca href=\"http://www.thesheltersmusic.com/\" target=\"_blank\" rel=\"noopener\">The Shelters\u003c/a> sound a little like the Byrds, the Beatles and a bit of the Allman Brothers all mixed together. Sebastian Harris, Josh Jove, Jacob Pillot, and Chase Simpson make classic rock ‘n’ roll, something we don’t really hear all that often these days. They also have an ace in the hole; their new album was produced by \u003ca href=\"http://www.tompetty.com/?frontpage=true\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a>, who was so impressed with the band that he produced their new album in his home studio. It’s very catchy stuff. Details for their Starline Social Club show are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2016/12/8/folk-yeah-presents-the-shelters\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. It’s another \u003cstrong>Cheap Thrill\u003c/strong>!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0SsrpAtpllk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2\u003c/strong>: We had to squeeze this in — Minna Choi and her \u003ca href=\"http://www.magikmagik.com/\" target=\"_blank\" rel=\"noopener\">Magik Magik Orchestra\u003c/a>, a team that has backed so many great pop recordings, are the stars for once. The show celebrates Choi’s new album, called \u003cem>Magik Magik. \u003c/em>Details for her show at the Swedish American Hall are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/magikmagik/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Joyce DiDonato, the Handsome Family, Lewis Black and 'Miss Bennet: Christmas at Pemberley' are just some of Cy Musiker and David Wiegand's picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: An Update on 'Pride and Prejudice,' Songs of War and Peace, and Seeking Shelter | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/295780691″&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/295780691″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The holiday season and circus are deeply connected for me, because this is the time of year when the late, great \u003ca href=\"http://www.foundsf.org/index.php?title=Pickle_Family_Circus:_Origins_and_Influence\" target=\"_blank\" rel=\"noopener\">Pickle Family Circus \u003c/a>always presented a show. But we have some terrific replacements this year, deeply influenced by the Pickles. My first choice is the scrappy and intimate \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts Center’s show \u003cem>Inversion\u003c/em>\u003c/a> in West Oakland, which we profiled a few weeks ago. But don’t overlook Cirque du Soleil’s gorgeous, extravagant and funny \u003cem>Luzia. \u003c/em>Just note that the death of stage technician Olivier Rochette on Tuesday night (Nov. 29) has forced the company to suspend performances for a few days. Now for this week’s show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pvtmGU1Co4E'\n title='//www.youtube.com/embed/pvtmGU1Co4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 7: \u003c/strong>\u003ca href=\"http://www.handsomefamily.com/\" target=\"_blank\" rel=\"noopener\">The Handsome Family\u003c/a>’s Brett Sparks always sings a little off-key to my ear. But it’s in the same way folk-protest singer\u003ca href=\"https://en.wikipedia.org/wiki/Phil_Ochs\" target=\"_blank\" rel=\"noopener\"> Phil Ochs \u003c/a>was off; it doesn’t matter because the songs are so full of heart and humanity. He and his bandmate and wife Rennie (who writes the surreal, sometimes somber lyrics) got a huge boost when \u003ca href=\"http://www.hbo.com/true-detective\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>True Detective\u003c/em>\u003c/a> made their single “Far From Any Road” the theme song for the show’s first season. They live in Albuquerque, and don’t like to tour much, but they’ve got a 10th album with songs, Rennie says, about “things we cannot see,” and it’s terrific. Details for their show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/the-handsome-family-gamh-w-drunken-prayer/\" 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/-SKjq1A-sVU'\n title='//www.youtube.com/embed/-SKjq1A-sVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 5\u003c/strong>: Monday nights can be kind of depressing, with the work week stretching before us. But I have an antidote for this week: comedian Jackie Kashian. She’s a smart, funny woman who likes to gently poke white privilege and nerdiness. Her husband’s a game designer, and she hosts the podcast \u003cem>\u003ca href=\"http://tdf.libsyn.com/\" target=\"_blank\" rel=\"noopener\">The Dork Forest\u003c/a>, \u003c/em>a tribute to geeks and pop culture freaks. Details for her Monday night show at Doc’s Lab are \u003ca href=\"http://www.docslabsf.com/event/1320599-comedian-jackie-kashian-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>Cheap Thrill\u003c/strong>, with tickets just $12-$15.\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/HaU70Qeb0Cc'\n title='//www.youtube.com/embed/HaU70Qeb0Cc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 2, 8 and 9: \u003c/strong>Comedian \u003ca href=\"https://www.lewisblack.com/\" target=\"_blank\" rel=\"noopener\">Lewis Black\u003c/a> nailed the dynamics of this past campaign season as well or better than any other commentator. And he’s a great relief valve for our own frustrations and anxieties, because he’s so righteously \u003cstrong>angry\u003c/strong> about it. As our producer Suzie Racho says, he looks a walking heart attack, so catch him before he self-destructs. Details here for his three Bay Area shows: Dec. 2 at the\u003ca href=\"http://concerts.livenation.com/event/1C005093CAE56029\" target=\"_blank\" rel=\"noopener\"> Masonic Auditorium in San Francisco\u003c/a>, Dec. 8 at the \u003ca href=\"http://www.uptowntheatrenapa.com/event/lewis-black-2/\" target=\"_blank\" rel=\"noopener\">Uptown Theater in Napa\u003c/a>, and Dec. 9 at the \u003ca href=\"https://goldenstatetheatre.showare.com/eventperformances.asp?evt=95\" target=\"_blank\" rel=\"noopener\">Golden State Theatre in Monterey\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/PrJTmpt43hg'\n title='//www.youtube.com/embed/PrJTmpt43hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 2 and 4\u003c/strong>: Baroque composers wrestled with the same moral dilemmas as we do now. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Indian_Queen_(opera)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Indian Queen\u003c/em>\u003c/a>, Henry Purcell (1659-1695) asked “Why should men quarrel here where all possess as much as they can hope for by success?” Mezzo-soprano \u003ca href=\"http://joycedidonato.com/in-war-peace/\" target=\"_blank\" rel=\"noopener\">Joyce DiDonato\u003c/a> performs an excerpt from \u003cem>The Indian Queen\u003c/em> as part of a suite of songs on war and peace on her new CD and tour, inspired by the attacks on Paris a year ago. (Check out Steven Winn’s\u003ca href=\"http://www.sfchronicle.com/performance/article/Joyce-DiDonato-to-perform-In-War-and-Peace-10634769.php\" target=\"_blank\" rel=\"noopener\"> preview \u003c/a>for the show in the \u003cem>San Francisco Chronicle\u003c/em>.) She’s joined forces with the period-instrument ensemble Il Pomo d’Oro, stage director Ralf Pleger, choreographer-dancer Manuel Palazzo and costume designer Vivienne Westwood to create a thoroughly theatrical recital. Details for her show tonight at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/december-2016/joyce-didonato-and-il-pomo-doro\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for her Sunday afternoon concert at Zellerbach Hall in Berkeley \u003ca href=\"https://calperformances.org/performances/2016-17/early-music/joyce-didonato-il-pomo-doro-war-and-peace-harmony-through-music.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12424060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12424060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-800x450.jpg\" alt=\"'Miss Bennet: Christmas at Pemberley' features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss Bennet: Christmas at Pemberley’ features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer) \u003ccite>(Photo: Kevin Berne/Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Dec. 23\u003c/strong>: Last year, the Bay Area’s \u003ca href=\"http://laurengunderson.com/\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> was the second most-produced living playwright in the country. She’s prolific, profound, and often funny. She’s got a new show, co-written with \u003ca href=\"http://zff.org/announcements/margot-melcon-joins-zff/\" target=\"_blank\" rel=\"noopener\">Margot Melcon\u003c/a>, called \u003cem>Miss Bennet: Christmas at Pemberley\u003c/em>. It’s an update on Jane Austen’s \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride and Prejudice\u003c/em>\u003c/a>, and Gunderson says it’s her and Melcon’s stab at the perfect Christmas play — a witty love story, set during the Christmas season, blending sentiment and smarts. And yes, it’s a bit of an escape from the anxieties of this past election season. “But the day after the election, going into rehearsal,” Gunderson tells me by phone, “we realized this play is more appropriate in part because it is still rare to have a lot of women on stage not talking about men, but talking about their own futures, their own agency, their own ambitions, and their own hearts.” Details for \u003cem>Miss Bennet\u003c/em> at Marin Theatre Co. are \u003ca href=\"http://www.marintheatre.org/productions/miss-bennet-christmas-at-pemberly\" 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/w1G_5cDlWeM'\n title='//www.youtube.com/embed/w1G_5cDlWeM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 8\u003c/strong>: \u003ca href=\"http://www.thesheltersmusic.com/\" target=\"_blank\" rel=\"noopener\">The Shelters\u003c/a> sound a little like the Byrds, the Beatles and a bit of the Allman Brothers all mixed together. Sebastian Harris, Josh Jove, Jacob Pillot, and Chase Simpson make classic rock ‘n’ roll, something we don’t really hear all that often these days. They also have an ace in the hole; their new album was produced by \u003ca href=\"http://www.tompetty.com/?frontpage=true\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a>, who was so impressed with the band that he produced their new album in his home studio. It’s very catchy stuff. Details for their Starline Social Club show are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2016/12/8/folk-yeah-presents-the-shelters\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. It’s another \u003cstrong>Cheap Thrill\u003c/strong>!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0SsrpAtpllk'\n title='//www.youtube.com/embed/0SsrpAtpllk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2\u003c/strong>: We had to squeeze this in — Minna Choi and her \u003ca href=\"http://www.magikmagik.com/\" target=\"_blank\" rel=\"noopener\">Magik Magik Orchestra\u003c/a>, a team that has backed so many great pop recordings, are the stars for once. The show celebrates Choi’s new album, called \u003cem>Magik Magik. \u003c/em>Details for her show at the Swedish American Hall are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/magikmagik/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A local librarian received a national honor Wednesday night for her work providing cooking demonstrations and other programs at the San Francisco Public Library.\u003c/p>\n\u003cp>Lia Kharis Hillman was one of 10 librarians who was honored with the \u003ca href=\"http://www.ilovelibraries.org/lovemylibrarian\" target=\"_blank\" rel=\"noopener\">I Love My Librarian award\u003c/a> at a ceremony in New York City. A former chef who worked at many local restaurants, Hillman was nominated for creating garden and food education programs in library branches across the city. Her goal was to help underserved families learn the importance of cooking at home by showing how self-prepared meals lead to good health.\u003c/p>\n\u003cp>“This whole thing is completely blowing my mind. People really want to learn these skills, but it goes beyond that — they’re astonished at how easy and accessible it all is, and how little time it takes,” Hillman said.\u003c/p>\n\u003cp>Hillman also provided local children hands-on experience growing vegetables by building a garden in a patio at one of the libraries, and set up a seed-lending library so families could start their own gardens. It was while harvesting some of the crops from the garden that the idea to provide cooking demonstrations came to her.\u003c/p>\n\u003cp>“We were harvesting our first crop at the Mission garden and I had made this simple salad dressing,” Hillman said. “The kids were taking different greens from the garden that they had grown and dipping it in the dressing. Many of them had never eaten salad before — it’s not part of the culinary cultural background. So when they tasted the salad, their eyes just popped; they couldn’t believe how delicious it was.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says had been trying to find a way to provide some kind of cooking education at the library since she began working there. Then Peter Wiley of Wiley Books provided funds to the library staff, challenging them to “bring the library into the future.” Hillman applied and was one of four to receive funds, which she used to buy a \u003ca href=\"http://charliecart.org/\" target=\"_blank\" rel=\"noopener\">Charlie Cart,\u003c/a> a mobile kitchen for cooking demonstrations. \u003c/p>\n\u003cp>Since then, Hillman has provided numerous classes, and she says they’re generally well-attended. They’re also a lot of work to put on, but she says it’s worth it.\u003c/p>\n\u003cp>“All the provisioning, all the planning — it’s labor intensive,” Hillman says. “But the outcome far outweighs the amount of labor, and you don’t even think about it.”\u003c/p>\n\u003cp>Hillman also provides food demonstrations at the Heart of the City Farmers Market every Wednesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For beating out 1,100 nominated librarians, Hillman received a \u003ca href=\"http://www.ilovelibraries.org/lovemylibrarian/2016/16winners\" target=\"_blank\" rel=\"noopener\">$5,000 award\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A local librarian received a national honor Wednesday night for her work providing cooking demonstrations and other programs at the San Francisco Public Library.\u003c/p>\n\u003cp>Lia Kharis Hillman was one of 10 librarians who was honored with the \u003ca href=\"http://www.ilovelibraries.org/lovemylibrarian\" target=\"_blank\" rel=\"noopener\">I Love My Librarian award\u003c/a> at a ceremony in New York City. A former chef who worked at many local restaurants, Hillman was nominated for creating garden and food education programs in library branches across the city. Her goal was to help underserved families learn the importance of cooking at home by showing how self-prepared meals lead to good health.\u003c/p>\n\u003cp>“This whole thing is completely blowing my mind. People really want to learn these skills, but it goes beyond that — they’re astonished at how easy and accessible it all is, and how little time it takes,” Hillman said.\u003c/p>\n\u003cp>Hillman also provided local children hands-on experience growing vegetables by building a garden in a patio at one of the libraries, and set up a seed-lending library so families could start their own gardens. It was while harvesting some of the crops from the garden that the idea to provide cooking demonstrations came to her.\u003c/p>\n\u003cp>“We were harvesting our first crop at the Mission garden and I had made this simple salad dressing,” Hillman said. “The kids were taking different greens from the garden that they had grown and dipping it in the dressing. Many of them had never eaten salad before — it’s not part of the culinary cultural background. So when they tasted the salad, their eyes just popped; they couldn’t believe how delicious it was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says had been trying to find a way to provide some kind of cooking education at the library since she began working there. Then Peter Wiley of Wiley Books provided funds to the library staff, challenging them to “bring the library into the future.” Hillman applied and was one of four to receive funds, which she used to buy a \u003ca href=\"http://charliecart.org/\" target=\"_blank\" rel=\"noopener\">Charlie Cart,\u003c/a> a mobile kitchen for cooking demonstrations. \u003c/p>\n\u003cp>Since then, Hillman has provided numerous classes, and she says they’re generally well-attended. They’re also a lot of work to put on, but she says it’s worth it.\u003c/p>\n\u003cp>“All the provisioning, all the planning — it’s labor intensive,” Hillman says. “But the outcome far outweighs the amount of labor, and you don’t even think about it.”\u003c/p>\n\u003cp>Hillman also provides food demonstrations at the Heart of the City Farmers Market every Wednesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For beating out 1,100 nominated librarians, Hillman received a \u003ca href=\"http://www.ilovelibraries.org/lovemylibrarian/2016/16winners\" target=\"_blank\" rel=\"noopener\">$5,000 award\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Shocking Toilets That Helped Put UC Davis on the Art World Map",
"headTitle": "The 10 Shocking Toilets That Helped Put UC Davis on the Art World Map | KQED",
"content": "\u003cp>Eleven year-old Monica Vernon of Vacaville is not amused. Her face screws into a serious frown as she stares at a collection of different takes on the throne, the pisser, the john. You get the idea.\u003c/p>\n\u003cp>“I don’t think that’s what art is supposed to be for,” Vernon says, surveying 10 ceramic toilet sculptures (and a sketch of the destroyed 11th) created by the late sculptor Robert Arneson. The works are part of the inaugural exhibition at the University of California at Davis’ new art museum, the \u003ca href=\"http://Jan%20Shrem%20and%20Maria%20Manetti%20Shrem%20Museum%20of%20Art.\">Jan Shrem and Maria Manetti Shrem Museum of Art\u003c/a>.\u003c/p>\n\u003cp>“I wouldn’t call that beautiful,” she says.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/295721861″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>But Arneson, who died in 1992 and taught at UC Davis for close to three decades, wasn’t going for “beautiful” with these sculptures, which are brought together for the first time from museums, galleries and private collections around the globe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Most of the lenders know what they have when it comes to Arneson’s work,” says exhibition curator Arielle Hardy. “They recognize the importance of the toilets. But people were surprised that this was our first gesture as a museum, that we were going to show 10 ceramic toilets with very graphic imagery, in some cases.”\u003c/p>\n\u003cp>Some owners are so uncomfortable with the toilets they’ve never shown them. That isn’t the case for contributors like Stanford’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>, owner of one of the most graphic sculptures, \u003cem>His and Hers\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12414604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg\" alt=\"Robert Arneson, 'His and Hers,' 1964.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘His and Hers,’ 1964. \u003ccite>(Photo: Courtesy of Iris & B. Gerald Cantor Center for Visual Arts at Stanford University.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One toilet is obviously male, sporting a bright red penis as a flush handle, and a seat that looks like poop. The female sports a pair of humongous breasts with erect nipples in lieu of a water tank. Her seat is a pair of red, labial lips.\u003c/p>\n\u003cp>“Typically, university art museums are a little more subtle when they debut,” Hardy says. “We didn’t want to be subtle. We wanted to be Davis.”\u003c/p>\n\u003ch3>Defining UC Davis through art\u003c/h3>\n\u003cp>Arneson epitomized Hardy’s definition of “Davis.” The Benicia-born artist was a little wild and inclined to poke a thumb in the eye of the establishment, even though his work is now shown in major art institutions like the \u003ca href=\"http://www.metmuseum.org/art/collection/search/482249\" target=\"_blank\" rel=\"noopener\">Metropolitan Museum of Art\u003c/a> in New York and San Francisco’s \u003ca href=\"https://www.sfmoma.org/artist/Robert_Arneson\" target=\"_blank\" rel=\"noopener\">Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The toilets also one-up the original infamous art toilet, \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/98.291\" target=\"_blank\" rel=\"noopener\">Fountain\u003c/a>\u003c/em>, a standard-issue urinal presented as art by Marcel Duchamp in 1917. “This is Bob Arneson going \u003cem>mano a mano\u003c/em> with Marcel Duchamp,” says Rachel Teagle, director of the Manetti Shrem Museum. “All of these toilets, at the same time that they’re crude and lewd, they’re wrestling with the biggies of art history.”\u003c/p>\n\u003cp>The museum’s inaugural show, \u003cem>Out Our Way\u003c/em>, features more than 200 works collected from the first 12 artists hired to teach at the university’s arts department when it was founded in 1958. Other “biggies” include Wayne Thiebaud, Roy DeForest, and Manuel Neri. It’s fair to say they were also wrestling with art history, but with less of the “crude and lewd” approach Arneson employed.\u003c/p>\n\u003ch3>A flash of insight\u003c/h3>\n\u003cp>In 1962, Arneson was under pressure to come up with something for an upcoming show in Oakland when he had an epiphany in a bathroom at UC Davis.\u003c/p>\n\u003cp>“What am I going to make?” recalls Arneson’s widow, Sandra Shannonhouse, of the incident. “Oh, well, I’m sitting on it!”\u003c/p>\n\u003cfigure id=\"attachment_12414610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414610\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg\" alt=\"Robert Arneson, Untitled (Urinal), is on loan from the San Jose Museum of Art. In some ways, it's the most demure, understated of Arneson's toilets.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson’s ‘Untitled (Urinal)’ is on loan from the San Jose Museum of Art. In some ways, it’s the most demure and understated of Arneson’s toilets. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, Arneson began a series that would cement his reputation as a potty-minded provocateur while laying the foundation for what later became the movement known as “Funk Art” — a reaction to abstract expressionism and its lack of human figures doing human things. “It was just kind of counter to the cool, impersonal pop art of the East Coast,” Shannonhouse says.\u003c/p>\n\u003cp>Today, Arneson is probably best known on the UC Davis campus for \u003ca href=\"https://www.ucdavis.edu/campus-life/arts-culture/eggheads/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eggheads\u003c/em>\u003c/a>, a series of five giant bald male heads made of bronze that dot the campus.\u003c/p>\n\u003cfigure id=\"attachment_12414809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414809\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg\" alt=\"Robert Arneson, 'See No Evil/Hear No Evil.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘See No Evil/Hear No Evil.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio where Arneson and his colleagues produced the bulk of their work, called “Temporary Building 9,” is ironically now \u003ca href=\"https://www.ucdavis.edu/news/famous-temporary-building-uc-davis-placed-national-register-historic-places/\" target=\"_blank\" rel=\"noopener\">listed on the National Register of Historic Places\u003c/a>. You can imagine Robert Arneson laughing at that turn of events.\u003c/p>\n\u003cp>“All my art has a sense of humor about it,” Arneson said in a 1984 documentary called \u003ca href=\"https://www.youtube.com/watch?v=Fw7W76CnOBw\" target=\"_blank\" rel=\"noopener\">A Good Time To Be West\u003c/a>. “I think the humor is a witty response, but a serious response, to the absurdities of life in general and the notion of being a creative artist.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Out Our Way’ runs through March 26, 2017 at the Jan Shrem and Maria Manetti Shrem Museum at UC Davis. More info \u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/oow.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "For its inaugural exhibition, the new Jan Shrem and Maria Manetti Shrem Museum of Art gathers together Robert Arneson's infamous ceramic toilet sculptures.",
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"description": "For its inaugural exhibition, the new Jan Shrem and Maria Manetti Shrem Museum of Art gathers together Robert Arneson's infamous ceramic toilet sculptures.",
"title": "The 10 Shocking Toilets That Helped Put UC Davis on the Art World Map | KQED",
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"headline": "The 10 Shocking Toilets That Helped Put UC Davis on the Art World Map",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleven year-old Monica Vernon of Vacaville is not amused. Her face screws into a serious frown as she stares at a collection of different takes on the throne, the pisser, the john. You get the idea.\u003c/p>\n\u003cp>“I don’t think that’s what art is supposed to be for,” Vernon says, surveying 10 ceramic toilet sculptures (and a sketch of the destroyed 11th) created by the late sculptor Robert Arneson. The works are part of the inaugural exhibition at the University of California at Davis’ new art museum, the \u003ca href=\"http://Jan%20Shrem%20and%20Maria%20Manetti%20Shrem%20Museum%20of%20Art.\">Jan Shrem and Maria Manetti Shrem Museum of Art\u003c/a>.\u003c/p>\n\u003cp>“I wouldn’t call that beautiful,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/295721861″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/295721861″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Arneson, who died in 1992 and taught at UC Davis for close to three decades, wasn’t going for “beautiful” with these sculptures, which are brought together for the first time from museums, galleries and private collections around the globe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Most of the lenders know what they have when it comes to Arneson’s work,” says exhibition curator Arielle Hardy. “They recognize the importance of the toilets. But people were surprised that this was our first gesture as a museum, that we were going to show 10 ceramic toilets with very graphic imagery, in some cases.”\u003c/p>\n\u003cp>Some owners are so uncomfortable with the toilets they’ve never shown them. That isn’t the case for contributors like Stanford’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>, owner of one of the most graphic sculptures, \u003cem>His and Hers\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12414604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg\" alt=\"Robert Arneson, 'His and Hers,' 1964.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘His and Hers,’ 1964. \u003ccite>(Photo: Courtesy of Iris & B. Gerald Cantor Center for Visual Arts at Stanford University.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One toilet is obviously male, sporting a bright red penis as a flush handle, and a seat that looks like poop. The female sports a pair of humongous breasts with erect nipples in lieu of a water tank. Her seat is a pair of red, labial lips.\u003c/p>\n\u003cp>“Typically, university art museums are a little more subtle when they debut,” Hardy says. “We didn’t want to be subtle. We wanted to be Davis.”\u003c/p>\n\u003ch3>Defining UC Davis through art\u003c/h3>\n\u003cp>Arneson epitomized Hardy’s definition of “Davis.” The Benicia-born artist was a little wild and inclined to poke a thumb in the eye of the establishment, even though his work is now shown in major art institutions like the \u003ca href=\"http://www.metmuseum.org/art/collection/search/482249\" target=\"_blank\" rel=\"noopener\">Metropolitan Museum of Art\u003c/a> in New York and San Francisco’s \u003ca href=\"https://www.sfmoma.org/artist/Robert_Arneson\" target=\"_blank\" rel=\"noopener\">Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The toilets also one-up the original infamous art toilet, \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/98.291\" target=\"_blank\" rel=\"noopener\">Fountain\u003c/a>\u003c/em>, a standard-issue urinal presented as art by Marcel Duchamp in 1917. “This is Bob Arneson going \u003cem>mano a mano\u003c/em> with Marcel Duchamp,” says Rachel Teagle, director of the Manetti Shrem Museum. “All of these toilets, at the same time that they’re crude and lewd, they’re wrestling with the biggies of art history.”\u003c/p>\n\u003cp>The museum’s inaugural show, \u003cem>Out Our Way\u003c/em>, features more than 200 works collected from the first 12 artists hired to teach at the university’s arts department when it was founded in 1958. Other “biggies” include Wayne Thiebaud, Roy DeForest, and Manuel Neri. It’s fair to say they were also wrestling with art history, but with less of the “crude and lewd” approach Arneson employed.\u003c/p>\n\u003ch3>A flash of insight\u003c/h3>\n\u003cp>In 1962, Arneson was under pressure to come up with something for an upcoming show in Oakland when he had an epiphany in a bathroom at UC Davis.\u003c/p>\n\u003cp>“What am I going to make?” recalls Arneson’s widow, Sandra Shannonhouse, of the incident. “Oh, well, I’m sitting on it!”\u003c/p>\n\u003cfigure id=\"attachment_12414610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414610\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg\" alt=\"Robert Arneson, Untitled (Urinal), is on loan from the San Jose Museum of Art. In some ways, it's the most demure, understated of Arneson's toilets.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson’s ‘Untitled (Urinal)’ is on loan from the San Jose Museum of Art. In some ways, it’s the most demure and understated of Arneson’s toilets. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, Arneson began a series that would cement his reputation as a potty-minded provocateur while laying the foundation for what later became the movement known as “Funk Art” — a reaction to abstract expressionism and its lack of human figures doing human things. “It was just kind of counter to the cool, impersonal pop art of the East Coast,” Shannonhouse says.\u003c/p>\n\u003cp>Today, Arneson is probably best known on the UC Davis campus for \u003ca href=\"https://www.ucdavis.edu/campus-life/arts-culture/eggheads/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eggheads\u003c/em>\u003c/a>, a series of five giant bald male heads made of bronze that dot the campus.\u003c/p>\n\u003cfigure id=\"attachment_12414809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414809\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg\" alt=\"Robert Arneson, 'See No Evil/Hear No Evil.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘See No Evil/Hear No Evil.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio where Arneson and his colleagues produced the bulk of their work, called “Temporary Building 9,” is ironically now \u003ca href=\"https://www.ucdavis.edu/news/famous-temporary-building-uc-davis-placed-national-register-historic-places/\" target=\"_blank\" rel=\"noopener\">listed on the National Register of Historic Places\u003c/a>. You can imagine Robert Arneson laughing at that turn of events.\u003c/p>\n\u003cp>“All my art has a sense of humor about it,” Arneson said in a 1984 documentary called \u003ca href=\"https://www.youtube.com/watch?v=Fw7W76CnOBw\" target=\"_blank\" rel=\"noopener\">A Good Time To Be West\u003c/a>. “I think the humor is a witty response, but a serious response, to the absurdities of life in general and the notion of being a creative artist.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Out Our Way’ runs through March 26, 2017 at the Jan Shrem and Maria Manetti Shrem Museum at UC Davis. More info \u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/oow.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update: 1 p.m. Tuesday: \u003c/strong>The cast and crew of Cirque du Soleil’s LUZIA announced that they will resume their regular performance schedule tonight, Tuesday, Dec. 6 at 8 p.m. In a statement, the company wrote: “Cirque du Soleil wishes to thank fans, friends, family members, the San Francisco community and the entire Cirque du Soleil family from around the world for their love and support through these difficult times.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.dir.ca.gov/dosh/\" target=\"_blank\" rel=\"noopener\">Cal/OSHA\u003c/a>, the state’s workplace safety agency, is investigating an accident that killed a worker at the \u003ca href=\"https://www.cirquedusoleil.com/luzia\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil show \u003cem>Luzia\u003c/em>\u003c/a> in San Francisco Tuesday night.\u003c/p>\n\u003cp>“According to an outside source that reported it to Cal/OSHA, the maintenance worker was struck in the head by an aerial device,” said Cal/OSHA public information officer Julia Bernstein.\u003c/p>\n\u003cp>The deceased employee, Olivier Rochette, was 42, and he was the son of Gilles Ste-Croix, one of the founders of the globetrotting, Montreal-based circus troupe. A statement released by Cirque du Soleil following the news of Rochette’s death said his father has been informed of the accident.\u003c/p>\n\u003cp>“The entire Cirque du Soleil family is deeply saddened by the accidental death of \u003cem>Luzia\u003c/em> technician, Olivier Rochette,” said Cirque du Soleil CEO Daniel Lamarre in a statement released Wednesday. “Olivier has always been a member of our tight family and a beloved colleague.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cirque du Soleil frequently brings its spectacular productions to the Bay Area, and Bernstein said Cirque du Soleil has had a clean safety record in California over the last five years. The company has a reputation for high safety standards, albeit one marred by the death of an aerial acrobat during a performance in Las Vegas in 2013.\u003c/p>\n\u003cp>The accident has derailed the performance schedule for \u003cem>Luzia\u003c/em>, which has received positive reviews from local critics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil canceled Tuesday night’s show after the accident, and announced a cancellation of Wednesday night’s performance as well. “Cirque du Soleil will determine the status of tomorrow’s performances at a later time,” the statement added.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update: 1 p.m. Tuesday: \u003c/strong>The cast and crew of Cirque du Soleil’s LUZIA announced that they will resume their regular performance schedule tonight, Tuesday, Dec. 6 at 8 p.m. In a statement, the company wrote: “Cirque du Soleil wishes to thank fans, friends, family members, the San Francisco community and the entire Cirque du Soleil family from around the world for their love and support through these difficult times.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.dir.ca.gov/dosh/\" target=\"_blank\" rel=\"noopener\">Cal/OSHA\u003c/a>, the state’s workplace safety agency, is investigating an accident that killed a worker at the \u003ca href=\"https://www.cirquedusoleil.com/luzia\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil show \u003cem>Luzia\u003c/em>\u003c/a> in San Francisco Tuesday night.\u003c/p>\n\u003cp>“According to an outside source that reported it to Cal/OSHA, the maintenance worker was struck in the head by an aerial device,” said Cal/OSHA public information officer Julia Bernstein.\u003c/p>\n\u003cp>The deceased employee, Olivier Rochette, was 42, and he was the son of Gilles Ste-Croix, one of the founders of the globetrotting, Montreal-based circus troupe. A statement released by Cirque du Soleil following the news of Rochette’s death said his father has been informed of the accident.\u003c/p>\n\u003cp>“The entire Cirque du Soleil family is deeply saddened by the accidental death of \u003cem>Luzia\u003c/em> technician, Olivier Rochette,” said Cirque du Soleil CEO Daniel Lamarre in a statement released Wednesday. “Olivier has always been a member of our tight family and a beloved colleague.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil frequently brings its spectacular productions to the Bay Area, and Bernstein said Cirque du Soleil has had a clean safety record in California over the last five years. The company has a reputation for high safety standards, albeit one marred by the death of an aerial acrobat during a performance in Las Vegas in 2013.\u003c/p>\n\u003cp>The accident has derailed the performance schedule for \u003cem>Luzia\u003c/em>, which has received positive reviews from local critics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil canceled Tuesday night’s show after the accident, and announced a cancellation of Wednesday night’s performance as well. “Cirque du Soleil will determine the status of tomorrow’s performances at a later time,” the statement added.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "William Christenberry, Artist Whose Muse was Rural Alabama, Dies at 80",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/503856796/503870843\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It was in 1974 that William Christenberry found the little red house.\u003c/p>\n\u003cp>The photographer and painter, a vital chronicler of rural Alabama, came across the building standing alone among the pine trees, deep in the Talladega National Forest. All he had with him was his tiny, no-frills Brownie camera — a long-cherished gift that “Santa brought my sister and me.”\u003c/p>\n\u003cfigure id=\"attachment_12418599\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg\" alt=\"William Christenberry, Red Building in Forest, Hale County, Alabama, 1996.\" width=\"500\" height=\"375\" class=\"size-full wp-image-12418599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Red Building in Forest, Hale County, Alabama, 1996. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was just infatuated with it proportionally,” Christenberry said during a \u003ca href=\"http://www.npr.org/2006/08/03/5613101/christenberry-photos-capture-the-changing-south\" target=\"_blank\" rel=\"noopener\">2006 interview\u003c/a> with \u003cem>All Things Considered\u003c/em>. “The fact that they took this artificial brick siding, which you can buy in rolls and staple or tack it up there, and somebody who must’ve had a great sense of humor, or was totally ignorant of what he or she was doing, covered the front door and made it look like a brick door!”\u003c/p>\n\u003cp>Christenberry died Monday at the age of 80, from complications related to Alzheimer’s disease, according to his daughter Kate. And among the many pillars of his legacy\u003cstrong> \u003c/strong>is the odd, little house that so fascinated him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though he had moved to Washington, D.C., in 1968 to take up a position at the Corcoran College of Art and Design, Christenberry returned every year to rural Alabama, where he had spent his summers as a child. It was a pilgrimage he made for decades. There, he photographed the house — which he later learned was once a one-room schoolhouse — along with small churches and roadside businesses, as they changed with age.\u003c/p>\n\u003cfigure id=\"attachment_12418601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg\" alt=\"William Christenberry, Church, Sprott, Alabama, 1981.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-12418601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-520x368.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Church, Sprott, Alabama, 1981. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’d go into that landscape, what I call the landscape of my childhood, and make these snapshots,” he told NPR. “Never did I dream that years later the world of fine art photography would see something in these.”\u003c/p>\n\u003cp>And the world of fine art did indeed take notice.\u003c/p>\n\u003cp>“What was really spectacular about [his work] is that he made that subject matter universal,” Margaret Lynne Ausfeld, senior curator of art at the Montgomery Museum of Fine Arts, told \u003ca href=\"http://www.tuscaloosanews.com/news/20161129/renowned-artist-from-tuscaloosa-dies\" target=\"_blank\" rel=\"noopener\">Tuscaloosa News\u003c/a>. “When you look at his work, what you see is basically the transitory nature of our life and our world and how things are inevitably going to change over time.”\u003c/p>\n\u003cp>Christenberry, who also worked in abstract painting and sculpture, forged an enduring friendship early in his career with another photographer, Walker Evans. Evans’ \u003cem>Let Us Now Praise Famous Men\u003c/em>, a book of photographs that recorded a trip he took with poet James Agee to Hale County, Ala., in 1936 — the year of Christenberry’s birth. After the two photographers met in the early 1960s, Walker’s work and advice helped shape Christenberry’s development.\u003c/p>\n\u003cfigure id=\"attachment_12418602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg\" alt=\"William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12418602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walker was a great influence. We exchanged ideas until his death, and I like to think there was a lot of cross-influencing,” Christenberry told \u003cem>Afterimage\u003c/em> magazine in 2005.\u003c/p>\n\u003cp>Yet, despite the fact they shared a subject at times, Christenberry said his relationship to Alabama was always different.\u003c/p>\n\u003cp>“His view was objective. My stance is very subjective,” he told the magazine. “The place is so much a part of me. I can’t escape it and have no desire to escape it. I continue to come to grips with it.”\u003c/p>\n\u003cp>And even as he won fellowships from the National Endowment for the Arts and the Guggenheim Memorial Foundation, Christenberry said the long-beating heart of his art remained the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t want my work to be thought of as maudlin or overly sentimental. It’s not. It’s a love affair — a lifetime of involvement with a place. The place is my muse.” \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=William+Christenberry%2C+Artist+Whose+Muse+Was+Rural+Alabama%2C+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/503856796/503870843\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It was in 1974 that William Christenberry found the little red house.\u003c/p>\n\u003cp>The photographer and painter, a vital chronicler of rural Alabama, came across the building standing alone among the pine trees, deep in the Talladega National Forest. All he had with him was his tiny, no-frills Brownie camera — a long-cherished gift that “Santa brought my sister and me.”\u003c/p>\n\u003cfigure id=\"attachment_12418599\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg\" alt=\"William Christenberry, Red Building in Forest, Hale County, Alabama, 1996.\" width=\"500\" height=\"375\" class=\"size-full wp-image-12418599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Red Building in Forest, Hale County, Alabama, 1996. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was just infatuated with it proportionally,” Christenberry said during a \u003ca href=\"http://www.npr.org/2006/08/03/5613101/christenberry-photos-capture-the-changing-south\" target=\"_blank\" rel=\"noopener\">2006 interview\u003c/a> with \u003cem>All Things Considered\u003c/em>. “The fact that they took this artificial brick siding, which you can buy in rolls and staple or tack it up there, and somebody who must’ve had a great sense of humor, or was totally ignorant of what he or she was doing, covered the front door and made it look like a brick door!”\u003c/p>\n\u003cp>Christenberry died Monday at the age of 80, from complications related to Alzheimer’s disease, according to his daughter Kate. And among the many pillars of his legacy\u003cstrong> \u003c/strong>is the odd, little house that so fascinated him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though he had moved to Washington, D.C., in 1968 to take up a position at the Corcoran College of Art and Design, Christenberry returned every year to rural Alabama, where he had spent his summers as a child. It was a pilgrimage he made for decades. There, he photographed the house — which he later learned was once a one-room schoolhouse — along with small churches and roadside businesses, as they changed with age.\u003c/p>\n\u003cfigure id=\"attachment_12418601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg\" alt=\"William Christenberry, Church, Sprott, Alabama, 1981.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-12418601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-520x368.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Church, Sprott, Alabama, 1981. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’d go into that landscape, what I call the landscape of my childhood, and make these snapshots,” he told NPR. “Never did I dream that years later the world of fine art photography would see something in these.”\u003c/p>\n\u003cp>And the world of fine art did indeed take notice.\u003c/p>\n\u003cp>“What was really spectacular about [his work] is that he made that subject matter universal,” Margaret Lynne Ausfeld, senior curator of art at the Montgomery Museum of Fine Arts, told \u003ca href=\"http://www.tuscaloosanews.com/news/20161129/renowned-artist-from-tuscaloosa-dies\" target=\"_blank\" rel=\"noopener\">Tuscaloosa News\u003c/a>. “When you look at his work, what you see is basically the transitory nature of our life and our world and how things are inevitably going to change over time.”\u003c/p>\n\u003cp>Christenberry, who also worked in abstract painting and sculpture, forged an enduring friendship early in his career with another photographer, Walker Evans. Evans’ \u003cem>Let Us Now Praise Famous Men\u003c/em>, a book of photographs that recorded a trip he took with poet James Agee to Hale County, Ala., in 1936 — the year of Christenberry’s birth. After the two photographers met in the early 1960s, Walker’s work and advice helped shape Christenberry’s development.\u003c/p>\n\u003cfigure id=\"attachment_12418602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg\" alt=\"William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12418602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walker was a great influence. We exchanged ideas until his death, and I like to think there was a lot of cross-influencing,” Christenberry told \u003cem>Afterimage\u003c/em> magazine in 2005.\u003c/p>\n\u003cp>Yet, despite the fact they shared a subject at times, Christenberry said his relationship to Alabama was always different.\u003c/p>\n\u003cp>“His view was objective. My stance is very subjective,” he told the magazine. “The place is so much a part of me. I can’t escape it and have no desire to escape it. I continue to come to grips with it.”\u003c/p>\n\u003cp>And even as he won fellowships from the National Endowment for the Arts and the Guggenheim Memorial Foundation, Christenberry said the long-beating heart of his art remained the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t want my work to be thought of as maudlin or overly sentimental. It’s not. It’s a love affair — a lifetime of involvement with a place. The place is my muse.” \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=William+Christenberry%2C+Artist+Whose+Muse+Was+Rural+Alabama%2C+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A police department in Canada’s province of Prince Edward Island is threatening to impose “the Nickelback treatment” on anyone who drinks and drives.\u003c/p>\n\u003cp>The Kensington Police Service shared a social media post over the weekend promising to force any drunk drivers it arrests to listen to the Canadian band while in the back seat of a cruiser.\u003c/p>\n\u003cp>The band has been a huge commercial success, with multiple awards in Canada, but is also gleefully maligned by some detractors.\u003c/p>\n\u003cp>Constable Robb Hartlen says on Facebook that if you are foolish enough to get behind a wheel while drinking, then a little Chad Kroeger and the boys is a perfect gift. The officer posed alongside a photo of the band’s breakthrough album, Silver Side Up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A multimillion-dollar trove of seized Impressionist art believed to have been owned by the regime of Philippine dictator Ferdinand Marcos has sat for five years in a climate-controlled Brooklyn warehouse, the subject of a bitter legal fight.\u003c/p>\n\u003cp>At issue is whether the 50 works — which include an 1881 painting by Claude Monet — should go to thousands of victims of the now-dead dictator, to the current Philippine government or to the personal secretary to Imelda Marcos, who contends she was rightfully given some of the art as gifts.\u003c/p>\n\u003cp>“It’s a question of who is the owner and who is entitled,” said Robert Swift, a human rights attorney representing nearly 10,000 victims of the Marcos regime who in 2011 won a judgment against Marcos, his estate and Imelda, his wife.\u003c/p>\n\u003cp>Of particular interest in the long-running, multi-jurisdictional case is an 1899 Monet from the “Water Lilies” series called “Le Bassin aux Nymphéas,” that the secretary, Vilma Bautista, sold in 2010 for $32 million. The other highly disputed items are three other prominent paintings still locked away in storage — an 1897 Alfred Sisley painting called “Langland Bay”; Monet’s 1881 “L’Eglise et La Seine a Vetheuil”; and Albert Marquet’s 1946 “Le Cyprès de Djenan Sidi Saïd.”\u003c/p>\n\u003cp>Both the government agency established by the Philippines to recover billions of dollars in assets believed to have been amassed during Marcos’ 14-year regime, the Presidential Commission on Good Government, and Swift believe they’re entitled to the paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My client has nothing against the human rights victims,” said Casey Murphy, the American lawyer representing the commission. “Our point is, if these were paintings accumulated through misappropriated funds, they should go to all Filipinos and not just one class of people and their lawyers.”\u003c/p>\n\u003cp>And then there’s Bautista, who kept $28 million when she sold the water lily to a Panamanian corporation controlled by a London-based art gallery. \u003c/p>\n\u003cp>That gallery then sold the painting to a British hedge fund manager in Switzerland for $43 million, according to court papers.\u003c/p>\n\u003cp>The hedge fund manager has paid $10 million to Swift’s clients. The Filipino government has also sought to recover the painting.\u003c/p>\n\u003cp>New York City prosecutors charged Bautista with failing to disclose the sale on her 2010 tax returns, and she was convicted after a five-week trial in 2013 of conspiracy, tax fraud and other charges. About $15 million of her funds were frozen by the courts.\u003c/p>\n\u003cp>A lawyer for Bautista, who is now 78 and free while appealing her conviction, hasn’t returned a message seeking comment. At the time, her lawyers argued she had the right to sell the Monet, which was owned by Imelda Marcos. The other paintings were given to her as gifts or obtained on her own, her lawyers have argued.\u003c/p>\n\u003cp>Ultimately, it will be up to a Manhattan federal judge to sort it all out.\u003c/p>\n\u003cp>In the meantime, the Presidential Commission has established a website to solicit tips as to the location of hundreds of paintings and jewelry that \u003c/p>\n\u003cp>Marcos, now 87 and a congresswoman in the Philippines, and her family allegedly obtained with state funds.\u003c/p>\n\u003cp>Representatives for Marcos said the congresswoman had no comment on the art.\u003c/p>\n\u003cp>Murphy said he hoped a judge would agree with the Presidential Commission’s position that since Imelda Marcos ultimately obtained the paintings improperly, she was never a rightful owner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In the main, the argument is a thief never gets good title to property,” he said.\u003cbr>\n___\u003cbr>\nAssociated Press writer Teresa Cerojano in Manila, Philippines, contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My client has nothing against the human rights victims,” said Casey Murphy, the American lawyer representing the commission. “Our point is, if these were paintings accumulated through misappropriated funds, they should go to all Filipinos and not just one class of people and their lawyers.”\u003c/p>\n\u003cp>And then there’s Bautista, who kept $28 million when she sold the water lily to a Panamanian corporation controlled by a London-based art gallery. \u003c/p>\n\u003cp>That gallery then sold the painting to a British hedge fund manager in Switzerland for $43 million, according to court papers.\u003c/p>\n\u003cp>The hedge fund manager has paid $10 million to Swift’s clients. The Filipino government has also sought to recover the painting.\u003c/p>\n\u003cp>New York City prosecutors charged Bautista with failing to disclose the sale on her 2010 tax returns, and she was convicted after a five-week trial in 2013 of conspiracy, tax fraud and other charges. About $15 million of her funds were frozen by the courts.\u003c/p>\n\u003cp>A lawyer for Bautista, who is now 78 and free while appealing her conviction, hasn’t returned a message seeking comment. At the time, her lawyers argued she had the right to sell the Monet, which was owned by Imelda Marcos. The other paintings were given to her as gifts or obtained on her own, her lawyers have argued.\u003c/p>\n\u003cp>Ultimately, it will be up to a Manhattan federal judge to sort it all out.\u003c/p>\n\u003cp>In the meantime, the Presidential Commission has established a website to solicit tips as to the location of hundreds of paintings and jewelry that \u003c/p>\n\u003cp>Marcos, now 87 and a congresswoman in the Philippines, and her family allegedly obtained with state funds.\u003c/p>\n\u003cp>Representatives for Marcos said the congresswoman had no comment on the art.\u003c/p>\n\u003cp>Murphy said he hoped a judge would agree with the Presidential Commission’s position that since Imelda Marcos ultimately obtained the paintings improperly, she was never a rightful owner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In the main, the argument is a thief never gets good title to property,” he said.\u003cbr>\n___\u003cbr>\nAssociated Press writer Teresa Cerojano in Manila, Philippines, contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ron Glass, the handsome, prolific character actor best known for his role as the gregarious, sometimes sardonic detective Ron Harris in the long-running cop comedy \u003cem>Barney Miller\u003c/em>, has died at age 71.\u003c/p>\n\u003cp>Glass died Friday of respiratory failure, his agent, Jeffrey Leavett, told The Associated Press on Saturday.\u003c/p>\n\u003cp>“Ron was a private, gentle and caring man,” said Leavett, a longtime friend of the actor. “He was an absolute delight to watch on screen. Words cannot adequately express my sorrow. ”\u003c/p>\n\u003cp>Although best known for \u003cem>Barney Miller\u003c/em>, Glass appeared in dozens of other shows in a television and film career dating to the early 1970s.\u003c/p>\n\u003cp>He portrayed Derrial Book, the spiritual shepherd with a cloudy past in the 2002 science-fiction series \u003cem>Firefly\u003c/em> and its 2005 film sequel \u003cem>Serenity\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was Felix Unger opposite Demond Wilson’s Oscar Madison in \u003cem>The New Odd Couple\u003c/em>, a 1980s reboot of the original Broadway show, film and television series that this time cast black actors in the lead roles of Unger’s prissy neat freak forced to share an apartment with slovenly friend Madison.\u003c/p>\n\u003cp>Glass was also the voice of Randy Carmichael, the genial neighbor and father of four children in the popular Nickelodeon cartoon series \u003cem>Rugrats\u003c/em> and its spinoff, \u003cem>All Grown Up\u003c/em>.\u003c/p>\n\u003cp>He also made appearances in such shows as \u003cem>Friends\u003c/em>, \u003cem>Star Trek: Voyager\u003c/em> and \u003cem>Designing Women\u003c/em>. More recently he appeared in episodes of \u003cem>CSI: Crime Scene Investigation\u003c/em> and \u003cem>Agents of S.H.I.E.L.D.\u003c/em> Early credits included \u003cem>All in the Family\u003c/em>, \u003cem>Maude\u003c/em>, \u003cem>Sanford and Son\u003c/em> and \u003cem>Hawaii Five-0\u003c/em>.\u003c/p>\n\u003cp>In \u003cem>Barney Miller\u003c/em> his literate Detective Ron Harris was one of the few generally normal characters who populated a New York City police precinct filled with oddballs on both sides of the law. The ensemble cast included Hal Linden as precinct Capt. Barney Miller, Max Gail as Detective Stan ‘Wojo’ Wojciehowicz, and Abe Vidgoda as Detective Phil Fish.\u003c/p>\n\u003cp>The show aired from 1975 until 1982, winning two Golden Globes and two Emmy Awards for best comedy series. Glass was nominated for a supporting actor Emmy in 1982.\u003c/p>\n\u003cp>Raised in Evansville, Indiana, Glass received a Bachelor of Arts degree in drama and literature from the University of Evansville.\u003c/p>\n\u003cp>After graduation he moved to Minneapolis where he worked in regional theater before coming to Los Angeles to launch his TV and film career.\u003c/p>\n\u003cp>He was also a member of the board of directors for Los Angeles’ AL Wooten Jr. Heritage Center, an organization named for a man murdered in a gang-initiation drive-by shooting and dedicated to helping inner-city youth stay safe and receive an education.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Information on funeral services and survivors was not immediately available. \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=Ron+Glass%2C+Emmy-Nominated+Actor+Best+Known+For+%27Barney+Miller%2C%27+Has+Died+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was Felix Unger opposite Demond Wilson’s Oscar Madison in \u003cem>The New Odd Couple\u003c/em>, a 1980s reboot of the original Broadway show, film and television series that this time cast black actors in the lead roles of Unger’s prissy neat freak forced to share an apartment with slovenly friend Madison.\u003c/p>\n\u003cp>Glass was also the voice of Randy Carmichael, the genial neighbor and father of four children in the popular Nickelodeon cartoon series \u003cem>Rugrats\u003c/em> and its spinoff, \u003cem>All Grown Up\u003c/em>.\u003c/p>\n\u003cp>He also made appearances in such shows as \u003cem>Friends\u003c/em>, \u003cem>Star Trek: Voyager\u003c/em> and \u003cem>Designing Women\u003c/em>. More recently he appeared in episodes of \u003cem>CSI: Crime Scene Investigation\u003c/em> and \u003cem>Agents of S.H.I.E.L.D.\u003c/em> Early credits included \u003cem>All in the Family\u003c/em>, \u003cem>Maude\u003c/em>, \u003cem>Sanford and Son\u003c/em> and \u003cem>Hawaii Five-0\u003c/em>.\u003c/p>\n\u003cp>In \u003cem>Barney Miller\u003c/em> his literate Detective Ron Harris was one of the few generally normal characters who populated a New York City police precinct filled with oddballs on both sides of the law. The ensemble cast included Hal Linden as precinct Capt. Barney Miller, Max Gail as Detective Stan ‘Wojo’ Wojciehowicz, and Abe Vidgoda as Detective Phil Fish.\u003c/p>\n\u003cp>The show aired from 1975 until 1982, winning two Golden Globes and two Emmy Awards for best comedy series. Glass was nominated for a supporting actor Emmy in 1982.\u003c/p>\n\u003cp>Raised in Evansville, Indiana, Glass received a Bachelor of Arts degree in drama and literature from the University of Evansville.\u003c/p>\n\u003cp>After graduation he moved to Minneapolis where he worked in regional theater before coming to Los Angeles to launch his TV and film career.\u003c/p>\n\u003cp>He was also a member of the board of directors for Los Angeles’ AL Wooten Jr. Heritage Center, an organization named for a man murdered in a gang-initiation drive-by shooting and dedicated to helping inner-city youth stay safe and receive an education.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Information on funeral services and survivors was not immediately available. \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=Ron+Glass%2C+Emmy-Nominated+Actor+Best+Known+For+%27Barney+Miller%2C%27+Has+Died+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hidden Gems: The Church of 8 Wheels",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>This story was originally published in November 2016 as part of The California Report Magazine's \"\u003ca href=\"https://www.kqed.org/news/tag/hidden-gems\">Hidden Gems\u003c/a>\" series. It re-aired on July 3rd, 2020 for a special show called \"Buckle Up: A (Virtual) Road Trip to CA Hidden Gems.\" Note: The indoor rink is closed due to shelter-in-place orders, but the Church of 8 Wheels is holding outdoor skating events — including a socially distanced disco party in San Francisco’s Golden Gate Park, every Friday night.\u003c/em>\u003c/p>\n\u003cp>Daniel Albert climbs a dusty church tower, lifts his arms above his head and grabs hold of a rope that comes from a hole in the ceiling. As he pulls it, the church bell on the other end chimes and resonates across this central San Francisco neighborhood. It’s 7 o’clock on a Friday night.\u003c/p>\n\u003cp>Then the music begins. But instead of hearing hymns, I hear disco. That’s because I’m at the \u003ca href=\"http://www.churchof8wheels.com/\">Church of 8 Wheels\u003c/a>. It’s a roller disco in a 120-year-old former Catholic church, just blocks from San Francisco’s famous Painted Lady rowhouses at Alamo Square. Albert is the operations manager, but he doubles as a rollerblading sensation. If you’ve been to this church, on Fillmore at Fell, you’ll know him as the guy with metallic reflective wings.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272358511\" 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>In the expansive space, old pews are pushed against the walls and lights reflect off a disco ball and onto the ceiling murals. David G. Miles Jr., known as the “Godfather of Skate,” proselytizes. “I am your roller disco minister,” he says. “I mean, it’s the Church of 8 Wheels, and as the godfather it’s my responsibility to spread rolligion everywhere I go.”\u003c/p>\n\u003cfigure id=\"attachment_11002592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002592\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg\" alt=\"A typical night at the Church of 8 Wheels.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical night at the Church of 8 Wheels. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That's right. \u003cem>Roll\u003c/em>igion.\u003c/p>\n\u003cp>The Church of 8 Wheels is Miles’ brainchild.\u003c/p>\n\u003cp>He moved to San Francisco in 1979. “I started skating in Golden Gate Park on my third or fourth day in San Francisco,” he says. “When I went out there I saw four people go by on roller skates and I was like, ‘Wow! They do that here?! I can do that.’ I went and got a pair of skates.” [ad fullwidth]\u003c/p>\n\u003cp>He met his wife in the park, and later their kids learned to skate just after they learned to walk. Miles organized skate groups on top of the Embarcadero Freeway after the earthquake of 1989, and he even skated from San Francisco to Los Angeles — 14 times.\u003c/p>\n\u003cp>I’m not that ambitious, but I figured I could at least skate for one night.\u003c/p>\n\u003cp>Miles’ daughter retrieves my skates while on her own wheels. I stow my bag at the coat check that Miles’ niece runs. Sometimes Miles’ son will DJ the bumping music that ties the experience together. It’s a real family operation.\u003c/p>\n\u003cp>Sitting in a pew, I lace up my skates. I want to look something like Miles in his fuzzy purple leg warmers and sparkly red-and-black top hat, so I put on the next best thing: a cupcake costume.\u003c/p>\n\u003cfigure id=\"attachment_11002598\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002598\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg\" alt='David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you waddle or sail around the rink, there’s something incredible about the giant stained-glass windows and disco lights. Beyond the funky-meets-virtuous vibe, the history of this building is rich. The former Sacred Heart Church closed in 2004, due to low attendance and a need for costly seismic repairs. But during the century it was open, the church saw a demographic that changed with the neighborhood around it. Notably, it once housed a Black Panther breakfast program.\u003c/p>\n\u003cp>Tonight, though, it’s about funky town and raspberry berets. Miles, who takes turns DJing and skating, spots some first-time rollers.\u003c/p>\n\u003cp>“This is what I call the 45-second skate lesson,” he says, helping out a pair in their 30s. After doling out his standard instructions, he encourages them: “One lap. That’s all you need. When you come back around here you’ll be going, ‘Hey, it’s pretty cool.’ ”\u003c/p>\n\u003cp>Miles skates back over to me and smiles. “It never gets worse,” he says. “It only gets better. I love it.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published in November 2016 as part of The California Report Magazine's \"\u003ca href=\"https://www.kqed.org/news/tag/hidden-gems\">Hidden Gems\u003c/a>\" series. It re-aired on July 3rd, 2020 for a special show called \"Buckle Up: A (Virtual) Road Trip to CA Hidden Gems.\" Note: The indoor rink is closed due to shelter-in-place orders, but the Church of 8 Wheels is holding outdoor skating events — including a socially distanced disco party in San Francisco’s Golden Gate Park, every Friday night.\u003c/em>\u003c/p>\n\u003cp>Daniel Albert climbs a dusty church tower, lifts his arms above his head and grabs hold of a rope that comes from a hole in the ceiling. As he pulls it, the church bell on the other end chimes and resonates across this central San Francisco neighborhood. It’s 7 o’clock on a Friday night.\u003c/p>\n\u003cp>Then the music begins. But instead of hearing hymns, I hear disco. That’s because I’m at the \u003ca href=\"http://www.churchof8wheels.com/\">Church of 8 Wheels\u003c/a>. It’s a roller disco in a 120-year-old former Catholic church, just blocks from San Francisco’s famous Painted Lady rowhouses at Alamo Square. Albert is the operations manager, but he doubles as a rollerblading sensation. If you’ve been to this church, on Fillmore at Fell, you’ll know him as the guy with metallic reflective wings.\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/272358511&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/272358511'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the expansive space, old pews are pushed against the walls and lights reflect off a disco ball and onto the ceiling murals. David G. Miles Jr., known as the “Godfather of Skate,” proselytizes. “I am your roller disco minister,” he says. “I mean, it’s the Church of 8 Wheels, and as the godfather it’s my responsibility to spread rolligion everywhere I go.”\u003c/p>\n\u003cfigure id=\"attachment_11002592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002592\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg\" alt=\"A typical night at the Church of 8 Wheels.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical night at the Church of 8 Wheels. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That's right. \u003cem>Roll\u003c/em>igion.\u003c/p>\n\u003cp>The Church of 8 Wheels is Miles’ brainchild.\u003c/p>\n\u003cp>He moved to San Francisco in 1979. “I started skating in Golden Gate Park on my third or fourth day in San Francisco,” he says. “When I went out there I saw four people go by on roller skates and I was like, ‘Wow! They do that here?! I can do that.’ I went and got a pair of skates.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He met his wife in the park, and later their kids learned to skate just after they learned to walk. Miles organized skate groups on top of the Embarcadero Freeway after the earthquake of 1989, and he even skated from San Francisco to Los Angeles — 14 times.\u003c/p>\n\u003cp>I’m not that ambitious, but I figured I could at least skate for one night.\u003c/p>\n\u003cp>Miles’ daughter retrieves my skates while on her own wheels. I stow my bag at the coat check that Miles’ niece runs. Sometimes Miles’ son will DJ the bumping music that ties the experience together. It’s a real family operation.\u003c/p>\n\u003cp>Sitting in a pew, I lace up my skates. I want to look something like Miles in his fuzzy purple leg warmers and sparkly red-and-black top hat, so I put on the next best thing: a cupcake costume.\u003c/p>\n\u003cfigure id=\"attachment_11002598\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002598\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg\" alt='David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you waddle or sail around the rink, there’s something incredible about the giant stained-glass windows and disco lights. Beyond the funky-meets-virtuous vibe, the history of this building is rich. The former Sacred Heart Church closed in 2004, due to low attendance and a need for costly seismic repairs. But during the century it was open, the church saw a demographic that changed with the neighborhood around it. Notably, it once housed a Black Panther breakfast program.\u003c/p>\n\u003cp>Tonight, though, it’s about funky town and raspberry berets. Miles, who takes turns DJing and skating, spots some first-time rollers.\u003c/p>\n\u003cp>“This is what I call the 45-second skate lesson,” he says, helping out a pair in their 30s. After doling out his standard instructions, he encourages them: “One lap. That’s all you need. When you come back around here you’ll be going, ‘Hey, it’s pretty cool.’ ”\u003c/p>\n\u003cp>Miles skates back over to me and smiles. “It never gets worse,” he says. “It only gets better. I love it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Pauline Oliveros, Pioneer of 'Deep Listening,' Dies at 84",
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"content": "\u003cp>Pauline Oliveros, the composer, performer and teacher who developed a theory called “deep listening,” died in her sleep Thursday. She was 84.\u003c/p>\n\u003cp>News of her death was \u003ca href=\"https://www.instagram.com/p/BNPzc8IDAKZ/\" target=\"_blank\" rel=\"noopener\">first shared\u003c/a> by musician Claire Chase on Instagram on Friday. The \u003ca href=\"http://deeplistening.org/site/\" target=\"_blank\" rel=\"noopener\">Deep Listening Institute\u003c/a>, the organization Oliveros founded, confirmed her death to NPR on Saturday.\u003c/p>\n\u003cp>https://www.instagram.com/p/BNPzc8IDAKZ/\u003c/p>\n\u003cp>Oliveros is best known for her experimental approach to music and sound. “Hear with your ears, listen with your heart,” was her guiding principle, according to \u003ca href=\"https://ww2.kqed.org/spark/pauline-oliveros/\" target=\"_blank\" rel=\"noopener\">NPR member station KQED\u003c/a>. The station’s profile of Oliveros accompanied a 2012 \u003cem>Spark\u003c/em> \u003ca href=\"https://www.podcat.com/podcasts/5cbjsh-kqed-spark-art-video-podcast/person/59n4bu-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">podcast episode\u003c/a> about Oliveros’ life and work. It described her as an “Oakland-based teacher, composer, performer and musical ambassador” who was “deeply attuned to the meditative qualities of sound.”\u003c/p>\n\u003cp>In a \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_oliveros.html\" target=\"_blank\" rel=\"noopener\">2003 interview\u003c/a> with American Public Media’s \u003cem>American Mavericks\u003c/em>, she described how sound influenced her from an early age:\u003c/p>\n\u003cblockquote>\n\u003cp>“I lived in Houston, Texas. I was born in 1932 and grew up at a time when humans had less impact on the environment than they do today. I mean, now the frogs are leaving and vanishing. The frogs in my childhood could be heard loud and clear. Then of course, now so much is paved over with asphalt and cement that the cicadas are trapped and can’t get out. But you can still hear wonderful stereophonic cicada sounds in Houston as you walk or drive down the street. And all of those sounds were very important to me in childhood.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Starting in the 1960s, she “pioneered the electronic and improvisational mediums, creating theories of ‘sonic meditation’ and ‘deep listening,’ ” KQED wrote. She co-founded the San Francisco Tape Music Center, which later became \u003ca href=\"https://ww2.kqed.org/arts/2016/10/26/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college/\" target=\"_blank\" rel=\"noopener\">the Center for Contemporary Music at Mills College\u003c/a>. There, KQED said, she taught music for years and “practiced deep listening techniques with fellow musicians using her bandoneon (an accordion-like instrument).”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliveros’ website \u003ca href=\"http://deeplistening.org/site/content/about\" target=\"_blank\" rel=\"noopener\">defines\u003c/a> deep listening as a way to explore “the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive — of listening.” Part of this listening includes being aware of small sounds, including vibrations.\u003c/p>\n\u003cp>[contextly_sidebar id=”ZLfawufKVorLQOHoLdKIo7DHqAJ3J6oq”]\u003c/p>\n\u003cp>As Lucas Willard of \u003ca href=\"http://wamc.org/post/pioneering-composer-pauline-oliveros-dies\" target=\"_blank\" rel=\"noopener\">member station WAMC\u003c/a> wrote Saturday, Oliveros spoke to the station about the importance of “perceiving vibrations” in May. She said, “Even though the newborn has trillions of neurons, by the time they’re eighteen months old they’ve lost quite a bit, because they’re focusing on exclusive sounds of speech. So that sort of takes you away from the sensation of sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 2012 \u003cem>Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/music/tomserviceblog/2012/may/07/guide-contemporary-music-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> on Oliveros said her mantra was: “Listen to everything all the time and remind yourself when you are not listening.” \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=Pauline+Oliveros%2C+Pioneer+Of+%27Deep+Listening%2C%27+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliveros is best known for her experimental approach to music and sound. “Hear with your ears, listen with your heart,” was her guiding principle, according to \u003ca href=\"https://ww2.kqed.org/spark/pauline-oliveros/\" target=\"_blank\" rel=\"noopener\">NPR member station KQED\u003c/a>. The station’s profile of Oliveros accompanied a 2012 \u003cem>Spark\u003c/em> \u003ca href=\"https://www.podcat.com/podcasts/5cbjsh-kqed-spark-art-video-podcast/person/59n4bu-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">podcast episode\u003c/a> about Oliveros’ life and work. It described her as an “Oakland-based teacher, composer, performer and musical ambassador” who was “deeply attuned to the meditative qualities of sound.”\u003c/p>\n\u003cp>In a \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_oliveros.html\" target=\"_blank\" rel=\"noopener\">2003 interview\u003c/a> with American Public Media’s \u003cem>American Mavericks\u003c/em>, she described how sound influenced her from an early age:\u003c/p>\n\u003cblockquote>\n\u003cp>“I lived in Houston, Texas. I was born in 1932 and grew up at a time when humans had less impact on the environment than they do today. I mean, now the frogs are leaving and vanishing. The frogs in my childhood could be heard loud and clear. Then of course, now so much is paved over with asphalt and cement that the cicadas are trapped and can’t get out. But you can still hear wonderful stereophonic cicada sounds in Houston as you walk or drive down the street. And all of those sounds were very important to me in childhood.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Starting in the 1960s, she “pioneered the electronic and improvisational mediums, creating theories of ‘sonic meditation’ and ‘deep listening,’ ” KQED wrote. She co-founded the San Francisco Tape Music Center, which later became \u003ca href=\"https://ww2.kqed.org/arts/2016/10/26/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college/\" target=\"_blank\" rel=\"noopener\">the Center for Contemporary Music at Mills College\u003c/a>. There, KQED said, she taught music for years and “practiced deep listening techniques with fellow musicians using her bandoneon (an accordion-like instrument).”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oliveros’ website \u003ca href=\"http://deeplistening.org/site/content/about\" target=\"_blank\" rel=\"noopener\">defines\u003c/a> deep listening as a way to explore “the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive — of listening.” Part of this listening includes being aware of small sounds, including vibrations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As Lucas Willard of \u003ca href=\"http://wamc.org/post/pioneering-composer-pauline-oliveros-dies\" target=\"_blank\" rel=\"noopener\">member station WAMC\u003c/a> wrote Saturday, Oliveros spoke to the station about the importance of “perceiving vibrations” in May. She said, “Even though the newborn has trillions of neurons, by the time they’re eighteen months old they’ve lost quite a bit, because they’re focusing on exclusive sounds of speech. So that sort of takes you away from the sensation of sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 2012 \u003cem>Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/music/tomserviceblog/2012/may/07/guide-contemporary-music-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> on Oliveros said her mantra was: “Listen to everything all the time and remind yourself when you are not listening.” \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=Pauline+Oliveros%2C+Pioneer+Of+%27Deep+Listening%2C%27+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hidden Gems: The Lost City of Cecil B. DeMille",
"title": "Hidden Gems: The Lost City of Cecil B. DeMille",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272173719\" 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>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\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/272173719&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/272173719'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-celebrating-romance-remembering-leonard-cohen-and-a-sci-fi-trump-rap",
"title": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap",
"publishDate": 1480035644,
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"headTitle": "Cy and David’s Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap | KQED",
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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/294337092″ 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>Here at the Do List, we are mourning the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/18/sharon-jones-singer-and-soul-funk-bandleader-dies-at-60/\" target=\"_blank\" rel=\"noopener\">death of Sharon Jones \u003c/a>at just 60 years old. She brought such joy and power to her music. But we’re happy to have survived Thanksgiving family potlucks, and to point you to music and shows that will bring you joy. Try the \u003ca href=\"http://www.cafestritch.com/events/\" target=\"_blank\" rel=\"noopener\">Dynamic Miss Faye Carol singing the songs of Duke Ellington\u003c/a> at San Jose’s Cafe Stritch on Nov. 26, and \u003ca href=\"http://odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">ODC’s 30th anniversary revival of \u003c/a>\u003cem>The Velveteen Rabbit, \u003c/em>about a stuffed rabbit that comes to life and dances beautifully, running Nov. 25–Dec. 11.\u003cem> \u003c/em>\u003c/p>\n\u003cp>And now for the main list.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VTK0Ah2EKAc\u003c/p>\n\u003cp>\u003cstrong>Nov. 27\u003c/strong>: When the Nobel Prize Committee announced that a singer-songwriter was receiving the prize for literature, \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 \u003c/a>seemed as likely a choice as Bob Dylan. On Sunday, devoted Cohen fans will want to flock to a memorial show featuring the 30-member a cappella choir \u003ca href=\"http://conspiracyofbeards.com/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, San Francisco’s\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\"> Chuck Prophet\u003c/a>, Cohen biographer and singer \u003ca href=\"http://sylviesimmons.com/\" target=\"_blank\" rel=\"noopener\">Sylvie Simmons\u003c/a>, singer-songwriter Mark Kozelek, Sarah Bethe Nelson, Christopher Owens and others. My favorite songs: “Suzanne,” because I loved both Cohen’s version and the Judy Collins’ cover in college, and “Everybody Knows,” which is one reason I never play craps. Details for \u003cem>Songs of Love and Hate: A Tribute to Leonard Cohen\u003c/em> at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1387002-songs-love-hate-san-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12382395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12382395\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg\" alt=\"Tsunehisa Kimura's work is part of the show 'Japanese Photography from Postwar to Now' at SFMOMA\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795.jpg 1791w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tsunehisa Kimura’s work is part of the show ‘Japanese Photography from Postwar to Now’ at SFMOMA. \u003ccite>(Photo: Courtesy of Tsunehisa Kimura)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12:\u003c/strong> \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">\u003cem>Japanese Photography from Postwar to Now\u003c/em>\u003c/a> has just opened at SFMOMA with images that cover the period from the end of World War II, after the US dropped an atomic bomb on Hiroshima, to the nuclear plant disaster in Fukushima. \u003ca href=\"http://www.sfgate.com/news/article/SFMOMA-photography-curator-Sandra-Phillips-7243926.php\" target=\"_blank\" rel=\"noopener\">Curator Emeritus Sandra Phillips \u003c/a>assembled the show from SFMOMA’s huge (and exceptional) permanent collection and a donation from the Kurenboh Collection. The photos reveal multitudes about Japan and its conflicted relationship with the United States. Co-host \u003ca href=\"http://www.sfchronicle.com/art/article/Story-of-postwar-Japan-told-photos-both-bleak-and-10626480.php\" target=\"_blank\" rel=\"noopener\">David Wiegand reviewed the show\u003c/a>, and liked it so much, he went back to see it again. Details \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12382197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12382197 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg\" alt=\"'She Loves Me' at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, so good in 'Into the Woods' a few years ago\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘She Loves Me’ at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, who were marvelous in ‘Into the Woods’ a few years ago. \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 30–Jan. 14\u003c/strong>: It all started with the play \u003cem>Parfumerie \u003c/em>by the Hungarian/American writer Miklos Laszlo, about two shopkeepers who hate each other in person but fall in love as anonymous correspondents. The play inspired movies; \u003cem>The Shop Around the Corner\u003c/em> (Jimmy Stewart and Margaret Sullavan), \u003cem>The Good Old Summertime\u003c/em> (Judy Garland), and \u003cem>You’ve Got Mail\u003c/em> (Tom Hanks and Meg Ryan) — and the terrific musical \u003cem>She Loves Me,\u003c/em> a big success on Broadway in 1963 which saw a revival last year. Its success is no surprise, considering the songs are by Sheldon Harnick and Jerry Bock, the team responsible for\u003cem> Fiddler on the Roof\u003c/em>. \u003cem>She Loves Me\u003c/em> is at San Francisco Playhouse, where Susi Damilano directs the wonderful Monique Hafen and Jeffrey Brian Adams as the tumultuous couple heading a huge cast. Details \u003ca href=\"https://sfplayhouse.org/sfph/2016-2017-season/she-loves-me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ai6mlTpYkzc\u003c/p>\n\u003cp>\u003cstrong>Nov. 30–Dec. 31\u003c/strong>: Here’s another musical with nothing but romance on its mind. \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> is restaging \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Daddy-Long-Legs_(novel)\" target=\"_blank\" rel=\"noopener\">Daddy Longlegs\u003c/a>\u003c/em> (2010), based on the same \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Webster\" target=\"_blank\" rel=\"noopener\">Jean Webster\u003c/a> novel that inspired the movie starring Fred Astaire and Leslie Caron. It’s set in suffragette-era New England, where a spirited orphan girl is sent to a fancy college by a mysterious benefactor. True love ensues. Co-stars Hilary Maiberger and Derek Carley sound terrific in the video above, singing songs by Paul Gordon (who wrote \u003cem>Emma\u003c/em>, another Theatreworks production). Escapism has never looked so inviting. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/daddy-long-legs2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=edqCPS7qwPM\u003c/p>\n\u003cp>\u003cstrong>Nov. 27, Dec. 9–10, Dec. 24\u003c/strong>: The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus \u003c/a>always loves to get merry for the holidays. But this year, they’re also planning a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/15/sf-gay-mens-chorus-responds-to-trump-election-with-red-state-tour/\" target=\"_blank\" rel=\"noopener\">“Building Bridges” tour of Southern states in 2018\u003c/a>, ahead of the mid-term elections, as a way to let other LGBTQ people know they’re not alone — and perhaps change some minds among people who voted for Donald Trump and Mike Pence. Those who find that a refreshing approach will want to join them for \u003cem>Home for the Holidays\u003c/em> at the Luther Burbank Center in Santa Rosa on Sunday. Details \u003ca href=\"http://tickets.lutherburbankcenter.org/single/eventDetail.aspx?p=2292\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Or catch their \u003cem>Babes in Joyland\u003c/em> show at San Francisco’s Nourse Theatre, on Dec. 9th and 10th, or a show at the Castro Theatre on Dec. 24th. Details for the San Francisco shows are \u003ca href=\"http://www.sfgmc.org/season-concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WeW2vHkXwVE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25\u003c/strong>: \u003ca href=\"http://georgewatsky.com/\" target=\"_blank\" rel=\"noopener\">George Watsky \u003c/a>calls himself a typical “Bay Area Kid,” raised on a diet of Iraq War protests by open-hearted progressive parents in San Francisco. So naturally, this fast-rapping author, recording artist and graduate of \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Def_Poetry_Jam\" target=\"_blank\" rel=\"noopener\">Russell Simmons’ Def Poetry Jam\u003c/a> has felt obligated to talk about the election during his current tour. He told me he wrote “a science-fiction rap” about Donald Trump becoming President, never expecting it to come true. But now he’s trying not to wallow in depression as he plans his homecoming concert. “I’m going to acknowledge the political situation,” he said by phone, “but I also don’t want to spend the whole concert pandering to people who mostly share my views. I’m going to speak my mind, but I’m also going to play the concert, and not let the whole thing be consumed by that.” That’s a balance we all might seek to find in the next few months and years. Details for Watsky’s \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">Warfield \u003c/a>show are \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQEDs Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap | KQED",
"description": "KQEDs Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"headline": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap",
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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/294337092″&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/294337092″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Here at the Do List, we are mourning the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/18/sharon-jones-singer-and-soul-funk-bandleader-dies-at-60/\" target=\"_blank\" rel=\"noopener\">death of Sharon Jones \u003c/a>at just 60 years old. She brought such joy and power to her music. But we’re happy to have survived Thanksgiving family potlucks, and to point you to music and shows that will bring you joy. Try the \u003ca href=\"http://www.cafestritch.com/events/\" target=\"_blank\" rel=\"noopener\">Dynamic Miss Faye Carol singing the songs of Duke Ellington\u003c/a> at San Jose’s Cafe Stritch on Nov. 26, and \u003ca href=\"http://odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">ODC’s 30th anniversary revival of \u003c/a>\u003cem>The Velveteen Rabbit, \u003c/em>about a stuffed rabbit that comes to life and dances beautifully, running Nov. 25–Dec. 11.\u003cem> \u003c/em>\u003c/p>\n\u003cp>And now for the main list.\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/VTK0Ah2EKAc'\n title='//www.youtube.com/embed/VTK0Ah2EKAc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 27\u003c/strong>: When the Nobel Prize Committee announced that a singer-songwriter was receiving the prize for literature, \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 \u003c/a>seemed as likely a choice as Bob Dylan. On Sunday, devoted Cohen fans will want to flock to a memorial show featuring the 30-member a cappella choir \u003ca href=\"http://conspiracyofbeards.com/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, San Francisco’s\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\"> Chuck Prophet\u003c/a>, Cohen biographer and singer \u003ca href=\"http://sylviesimmons.com/\" target=\"_blank\" rel=\"noopener\">Sylvie Simmons\u003c/a>, singer-songwriter Mark Kozelek, Sarah Bethe Nelson, Christopher Owens and others. My favorite songs: “Suzanne,” because I loved both Cohen’s version and the Judy Collins’ cover in college, and “Everybody Knows,” which is one reason I never play craps. Details for \u003cem>Songs of Love and Hate: A Tribute to Leonard Cohen\u003c/em> at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1387002-songs-love-hate-san-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12382395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12382395\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg\" alt=\"Tsunehisa Kimura's work is part of the show 'Japanese Photography from Postwar to Now' at SFMOMA\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795.jpg 1791w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tsunehisa Kimura’s work is part of the show ‘Japanese Photography from Postwar to Now’ at SFMOMA. \u003ccite>(Photo: Courtesy of Tsunehisa Kimura)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12:\u003c/strong> \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">\u003cem>Japanese Photography from Postwar to Now\u003c/em>\u003c/a> has just opened at SFMOMA with images that cover the period from the end of World War II, after the US dropped an atomic bomb on Hiroshima, to the nuclear plant disaster in Fukushima. \u003ca href=\"http://www.sfgate.com/news/article/SFMOMA-photography-curator-Sandra-Phillips-7243926.php\" target=\"_blank\" rel=\"noopener\">Curator Emeritus Sandra Phillips \u003c/a>assembled the show from SFMOMA’s huge (and exceptional) permanent collection and a donation from the Kurenboh Collection. The photos reveal multitudes about Japan and its conflicted relationship with the United States. Co-host \u003ca href=\"http://www.sfchronicle.com/art/article/Story-of-postwar-Japan-told-photos-both-bleak-and-10626480.php\" target=\"_blank\" rel=\"noopener\">David Wiegand reviewed the show\u003c/a>, and liked it so much, he went back to see it again. Details \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12382197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12382197 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg\" alt=\"'She Loves Me' at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, so good in 'Into the Woods' a few years ago\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘She Loves Me’ at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, who were marvelous in ‘Into the Woods’ a few years ago. \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 30–Jan. 14\u003c/strong>: It all started with the play \u003cem>Parfumerie \u003c/em>by the Hungarian/American writer Miklos Laszlo, about two shopkeepers who hate each other in person but fall in love as anonymous correspondents. The play inspired movies; \u003cem>The Shop Around the Corner\u003c/em> (Jimmy Stewart and Margaret Sullavan), \u003cem>The Good Old Summertime\u003c/em> (Judy Garland), and \u003cem>You’ve Got Mail\u003c/em> (Tom Hanks and Meg Ryan) — and the terrific musical \u003cem>She Loves Me,\u003c/em> a big success on Broadway in 1963 which saw a revival last year. Its success is no surprise, considering the songs are by Sheldon Harnick and Jerry Bock, the team responsible for\u003cem> Fiddler on the Roof\u003c/em>. \u003cem>She Loves Me\u003c/em> is at San Francisco Playhouse, where Susi Damilano directs the wonderful Monique Hafen and Jeffrey Brian Adams as the tumultuous couple heading a huge cast. Details \u003ca href=\"https://sfplayhouse.org/sfph/2016-2017-season/she-loves-me/\" 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/ai6mlTpYkzc'\n title='//www.youtube.com/embed/ai6mlTpYkzc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 30–Dec. 31\u003c/strong>: Here’s another musical with nothing but romance on its mind. \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> is restaging \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Daddy-Long-Legs_(novel)\" target=\"_blank\" rel=\"noopener\">Daddy Longlegs\u003c/a>\u003c/em> (2010), based on the same \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Webster\" target=\"_blank\" rel=\"noopener\">Jean Webster\u003c/a> novel that inspired the movie starring Fred Astaire and Leslie Caron. It’s set in suffragette-era New England, where a spirited orphan girl is sent to a fancy college by a mysterious benefactor. True love ensues. Co-stars Hilary Maiberger and Derek Carley sound terrific in the video above, singing songs by Paul Gordon (who wrote \u003cem>Emma\u003c/em>, another Theatreworks production). Escapism has never looked so inviting. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/daddy-long-legs2016\" 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/edqCPS7qwPM'\n title='//www.youtube.com/embed/edqCPS7qwPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 27, Dec. 9–10, Dec. 24\u003c/strong>: The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus \u003c/a>always loves to get merry for the holidays. But this year, they’re also planning a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/15/sf-gay-mens-chorus-responds-to-trump-election-with-red-state-tour/\" target=\"_blank\" rel=\"noopener\">“Building Bridges” tour of Southern states in 2018\u003c/a>, ahead of the mid-term elections, as a way to let other LGBTQ people know they’re not alone — and perhaps change some minds among people who voted for Donald Trump and Mike Pence. Those who find that a refreshing approach will want to join them for \u003cem>Home for the Holidays\u003c/em> at the Luther Burbank Center in Santa Rosa on Sunday. Details \u003ca href=\"http://tickets.lutherburbankcenter.org/single/eventDetail.aspx?p=2292\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Or catch their \u003cem>Babes in Joyland\u003c/em> show at San Francisco’s Nourse Theatre, on Dec. 9th and 10th, or a show at the Castro Theatre on Dec. 24th. Details for the San Francisco shows are \u003ca href=\"http://www.sfgmc.org/season-concerts/\" 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/WeW2vHkXwVE'\n title='//www.youtube.com/embed/WeW2vHkXwVE'\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. 25\u003c/strong>: \u003ca href=\"http://georgewatsky.com/\" target=\"_blank\" rel=\"noopener\">George Watsky \u003c/a>calls himself a typical “Bay Area Kid,” raised on a diet of Iraq War protests by open-hearted progressive parents in San Francisco. So naturally, this fast-rapping author, recording artist and graduate of \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Def_Poetry_Jam\" target=\"_blank\" rel=\"noopener\">Russell Simmons’ Def Poetry Jam\u003c/a> has felt obligated to talk about the election during his current tour. He told me he wrote “a science-fiction rap” about Donald Trump becoming President, never expecting it to come true. But now he’s trying not to wallow in depression as he plans his homecoming concert. “I’m going to acknowledge the political situation,” he said by phone, “but I also don’t want to spend the whole concert pandering to people who mostly share my views. I’m going to speak my mind, but I’m also going to play the concert, and not let the whole thing be consumed by that.” That’s a balance we all might seek to find in the next few months and years. Details for Watsky’s \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">Warfield \u003c/a>show are \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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