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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco filmmaker Kevin Epps had a bewildered air about him while he sat at a local Peet’s Coffee shop with his attorney, Mark Webb, on Wednesday afternoon, following his release from jail the night before. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I’m going through a myriad of different emotions,” Epps said.\u003c/p>\n\u003cp>Police \u003ca href=\"https://ww2.kqed.org/arts/2016/10/25/kevin-epps-documentary-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">arrested Epps Monday\u003c/a>, following a fatal shooting in his Glen Park home. The district attorney’s office released him Tuesday, determining “insufficient evidence to charge Kevin Epps at this time,” though the investigation continues.\u003c/p>\n\u003cp>“I’m really humble. Blessings to God, blessings to be here after going through this traumatic experience. Thank you, San Francisco,” he said, choking up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/290168274″&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/290168274″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Webb says he spoke with the prosecutor, who seemed inclined to see the incident Monday as a case of self-defense. That’s not a characterization released by the district attorney’s office as of yet, but the Medical Examiner’s office has confirmed the man killed was Marcus Polk, Sr., and family members have told various Bay Area news organizations Polk, Sr. was not welcome in the home.\u003c/p>\n\u003cp>Epps has made a series of well-regarded documentaries about the African-American experience in the Bay Area, including the 2003 film \u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/p>\n\u003cp>“The body of work that Kevin has created and accomplished as a filmmaker is known to you and known to the city,” Webb says. He adds that reputation counts for something with the district attorney. “He weighed everything in terms of who Kevin is and what happened inside that house.”\u003c/p>\n\u003cp>Epps says he looks forward to continue making films, and to be a “voice for the voiceless.”\u003c/p>\n\u003cp>\u003cstrong>Listen to more of the conversation here:\u003c/strong>\u003c/p>\n\u003cp>\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/290159344″&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/290159344″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nude Statue in San Leandro is Eye-Catching, but Far From Controversial",
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"content": "\u003cp>In the suburban city of San Leandro, a 55-foot-tall statue of a naked woman dancing at a local technology park has turned a few heads since it was unveiled last Tuesday — especially at a nearby BART station, where the statue can be seen from the train platform. But despite reports, representatives from the group that installed the statue say it’s not as controversial as some may say. \u003c/p>\n\u003cp>The 13,000-pound, five-story steel mesh statue \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">\u003cem>Truth Is Beauty\u003c/em>\u003c/a>, by local sculptor Marco Cochrane, was unveiled Oct. 18 to a crowd of hundreds at the San Leandro Tech Campus. Days later, the Associated Press reported that the statue was “\u003ca href=\"http://www.sfgate.com/business/technology/article/A-giant-nude-statue-in-California-is-stirring-10018109.php#photo-11282519\" target=\"_blank\" rel=\"noopener\">stirring controversy\u003c/a>,” but besides the commuters that were quoted, few have protested publicly since the statue was installed.\u003c/p>\n\u003cp>Some outrage was expressed when plans for the statue were announced, in 2015. The \u003cem>San Leandro Times\u003c/em> received about four letters railing against the statue, including one from 79-year-old resident Gerry Isham (a woman who was repeatedly \u003ca href=\"http://hyperallergic.com/223589/truth-is-beauty-but-tacky-is-forever/\" target=\"_blank\" rel=\"noopener\"> and incorrectly identified as a man by the press\u003c/a>) that had the delicious quote, “Truth is beauty, but tacky is forever.”\u003c/p>\n\u003cp>“I really don’t think there is that much controversy,” \u003cem>San Leandro Times\u003c/em> editor Jim Knowles said. “I think people got a bad impression from a photo that ran. The photo was if the statue when it was out in the desert during Burning Man, when you could see it a hundred miles away. It just stood over everything and didn’t give an accurate picture of what it really looked like.”\u003c/p>\n\u003cfigure id=\"attachment_12256130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg\" alt='\"Truth Is Beauty\" at Burning Man 2013' width=\"800\" height=\"533\" class=\"size-medium wp-image-12256130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Truth Is Beauty” at Burning Man 2013. \u003ccite>(Photo: Eleanor Preger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a bigger controversy at the beginning, when people were first hearing about it,” Westlake Urban managing director Gaye Quinn said. “Then, as we were able to unpack the message behind the art, then it really started to resonate with people. We knew the controversy was lessening when women on Facebook started changing their profile pictures to shots of \u003cem>Truth Is Beauty\u003c/em>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The message behind \u003cem>Truth Is Beauty\u003c/em> to which Quinn refers is embodied by the question engraved in the statue’s base: “What would the world be like if women were safe?” \u003c/p>\n\u003cp>Cochrane first debuted the statue in 2013 at Burning Man, as part of a trio of sculptures named \u003cem>The Bliss Project.\u003c/em> Inspired by the abduction and rape of a neighborhood friend when he was a child, Cochrane says \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> that the project was intended to “de-objectify women and inspire men and women to take action to end violence against women, thus allowing both women and men to live fully and thrive.”\u003c/p>\n\u003cp>“I believe the world is out of balance and that we need to listen to women’s voices and understand their intent,” Cochrane said. “They do not speak up as often as men. I believe that one of the reasons for this is the systemic violence against women that has been present throughout history.”\u003c/p>\n\u003cp>Quinn came in contact with Cochrane last year while on a search for artwork that would help her company, Westlake Urban, fulfill its deal with the city of San Leandro to include public art in its development of the San Leandro Tech Campus. A friend of hers who regularly attended Burning Man tipped her off to Cochrane’s statue and, though it was in pieces the first time she saw it in his art studio on Treasure Island, it had a profound impact on her.\u003c/p>\n\u003cfigure id=\"attachment_12256132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg\" alt='\"Truth In Beauty\" being installed at San Leandro Tech Campus' width=\"800\" height=\"450\" class=\"size-medium wp-image-12256132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Truth In Beauty’ being installed at San Leandro Tech Campus. \u003ccite>(Photo: Sunny Tong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was just body parts — her head was over there on a shelf, her torso was on a giant rack, her feet were somewhere else. It was quite an experience,” Quinn said. “[But] you could see the artistry of it, even when it was in pieces. The elegance of her architecture, the structural design, the wire mesh, her skin… It’s exquisite.”\u003c/p>\n\u003cp>Cochrane was adamant that the message stay with the statue. After hearing several stories of sexual assault from local community members, Quinn’s company not only complied, they further translated it into 10 different languages — the 10 most commonly spoken languages in San Leandro.\u003c/p>\n\u003cp>“What people don’t realize is that San Leandro is the fifth most diverse city in the country. I think they speak 30 languages in the schools,” Quinn said. “After hearing stories from so many women, we realized that the message was the reason for the art, and we needed to tell that story.”\u003c/p>\n\u003cp>It took 18 months for the statue to be installed. As it stands now, the city has received no complaints about the statue, and Sbeydeh Walton, San Leandro’s communications and community relations director, said officials couldn’t take action against it anyway. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s privately owned by Westlake Urban and is on private land, and was purchased with private funds,” Walton said. “If people complain to us, there’s not much to complain about because we don’t own it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the suburban city of San Leandro, a 55-foot-tall statue of a naked woman dancing at a local technology park has turned a few heads since it was unveiled last Tuesday — especially at a nearby BART station, where the statue can be seen from the train platform. But despite reports, representatives from the group that installed the statue say it’s not as controversial as some may say. \u003c/p>\n\u003cp>The 13,000-pound, five-story steel mesh statue \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">\u003cem>Truth Is Beauty\u003c/em>\u003c/a>, by local sculptor Marco Cochrane, was unveiled Oct. 18 to a crowd of hundreds at the San Leandro Tech Campus. Days later, the Associated Press reported that the statue was “\u003ca href=\"http://www.sfgate.com/business/technology/article/A-giant-nude-statue-in-California-is-stirring-10018109.php#photo-11282519\" target=\"_blank\" rel=\"noopener\">stirring controversy\u003c/a>,” but besides the commuters that were quoted, few have protested publicly since the statue was installed.\u003c/p>\n\u003cp>Some outrage was expressed when plans for the statue were announced, in 2015. The \u003cem>San Leandro Times\u003c/em> received about four letters railing against the statue, including one from 79-year-old resident Gerry Isham (a woman who was repeatedly \u003ca href=\"http://hyperallergic.com/223589/truth-is-beauty-but-tacky-is-forever/\" target=\"_blank\" rel=\"noopener\"> and incorrectly identified as a man by the press\u003c/a>) that had the delicious quote, “Truth is beauty, but tacky is forever.”\u003c/p>\n\u003cp>“I really don’t think there is that much controversy,” \u003cem>San Leandro Times\u003c/em> editor Jim Knowles said. “I think people got a bad impression from a photo that ran. The photo was if the statue when it was out in the desert during Burning Man, when you could see it a hundred miles away. It just stood over everything and didn’t give an accurate picture of what it really looked like.”\u003c/p>\n\u003cfigure id=\"attachment_12256130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg\" alt='\"Truth Is Beauty\" at Burning Man 2013' width=\"800\" height=\"533\" class=\"size-medium wp-image-12256130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Truth Is Beauty” at Burning Man 2013. \u003ccite>(Photo: Eleanor Preger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a bigger controversy at the beginning, when people were first hearing about it,” Westlake Urban managing director Gaye Quinn said. “Then, as we were able to unpack the message behind the art, then it really started to resonate with people. We knew the controversy was lessening when women on Facebook started changing their profile pictures to shots of \u003cem>Truth Is Beauty\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The message behind \u003cem>Truth Is Beauty\u003c/em> to which Quinn refers is embodied by the question engraved in the statue’s base: “What would the world be like if women were safe?” \u003c/p>\n\u003cp>Cochrane first debuted the statue in 2013 at Burning Man, as part of a trio of sculptures named \u003cem>The Bliss Project.\u003c/em> Inspired by the abduction and rape of a neighborhood friend when he was a child, Cochrane says \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> that the project was intended to “de-objectify women and inspire men and women to take action to end violence against women, thus allowing both women and men to live fully and thrive.”\u003c/p>\n\u003cp>“I believe the world is out of balance and that we need to listen to women’s voices and understand their intent,” Cochrane said. “They do not speak up as often as men. I believe that one of the reasons for this is the systemic violence against women that has been present throughout history.”\u003c/p>\n\u003cp>Quinn came in contact with Cochrane last year while on a search for artwork that would help her company, Westlake Urban, fulfill its deal with the city of San Leandro to include public art in its development of the San Leandro Tech Campus. A friend of hers who regularly attended Burning Man tipped her off to Cochrane’s statue and, though it was in pieces the first time she saw it in his art studio on Treasure Island, it had a profound impact on her.\u003c/p>\n\u003cfigure id=\"attachment_12256132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg\" alt='\"Truth In Beauty\" being installed at San Leandro Tech Campus' width=\"800\" height=\"450\" class=\"size-medium wp-image-12256132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Truth In Beauty’ being installed at San Leandro Tech Campus. \u003ccite>(Photo: Sunny Tong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was just body parts — her head was over there on a shelf, her torso was on a giant rack, her feet were somewhere else. It was quite an experience,” Quinn said. “[But] you could see the artistry of it, even when it was in pieces. The elegance of her architecture, the structural design, the wire mesh, her skin… It’s exquisite.”\u003c/p>\n\u003cp>Cochrane was adamant that the message stay with the statue. After hearing several stories of sexual assault from local community members, Quinn’s company not only complied, they further translated it into 10 different languages — the 10 most commonly spoken languages in San Leandro.\u003c/p>\n\u003cp>“What people don’t realize is that San Leandro is the fifth most diverse city in the country. I think they speak 30 languages in the schools,” Quinn said. “After hearing stories from so many women, we realized that the message was the reason for the art, and we needed to tell that story.”\u003c/p>\n\u003cp>It took 18 months for the statue to be installed. As it stands now, the city has received no complaints about the statue, and Sbeydeh Walton, San Leandro’s communications and community relations director, said officials couldn’t take action against it anyway. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s privately owned by Westlake Urban and is on private land, and was purchased with private funds,” Walton said. “If people complain to us, there’s not much to complain about because we don’t own it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Propositions S and X Promise to Preserve SF's Cultural Landscape",
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"headTitle": "Propositions S and X Promise to Preserve SF’s Cultural Landscape | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.ybca.org/staff/jonathan-moscone\" target=\"_blank\" rel=\"noopener\">Jon Moscone \u003c/a>is chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA). He’s also pretty good at leading pep rallies, like the one he spoke at recently on behalf of \u003ca href=\"http://bettersf.com/\" target=\"_blank\" rel=\"noopener\">Proposition S\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290085707″ 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>“I want to make good on the promise that this city made in 1961, \u003ca href=\"http://sfgfta.org/about/history-and-purpose/\" target=\"_blank\" rel=\"noopener\">when it dedicated hotel tax to the arts \u003c/a>and then to low-income housing,” Moscone said to applause from an audience of around 100 arts leaders and homeless advocates gathered at YBCA in late September. “I want to restore that promise to the city of San Francisco. That’s because I love this city.”\u003c/p>\n\u003cp>Moscone spoke at the YBCA in his role as co-sponsor of Proposition S, which guarantees a share of the city’s hotel tax to arts groups and those working with homeless families — all without raising taxes on voters. In the crowd, for example, were representatives from the Asian Pacific Islander Cultural Center, Hospitality House, and the SRO Families United Collaborative.\u003c/p>\n\u003cp>San Francisco first imposed a hotel tax for the arts in 1961. But since the recession, the city has taken a growing slice of this $380 million fund for other uses in the general budget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If the link between arts groups and organizations working to improve the lives of homeless families sounds like an odd coupling, it’s not to \u003ca href=\"http://www.moadsf.org/about-us/our-staff/\" target=\"_blank\" rel=\"noopener\">Linda Harrison, executive director for the Museum of the African Diaspora\u003c/a>. Harrison was one of many arts leaders at the rally working to pass the measure.\u003c/p>\n\u003cp>“We can’t be an arts organization and ignore the fact that a kid on a school tour is hungry,” Harrison said. “And if they have a place to stay, now they have some calmness, and art and culture can be part of that.”\u003c/p>\n\u003cfigure id=\"attachment_12259643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12259643\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg\" alt=\"Homeless Prenatal Program Executive Director Martha Ryan\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homeless Prenatal Program Executive Director Martha Ryan \u003ccite>(Photo: Courtesy of Homless )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The measure’s co-sponsor is \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Martha Ryan, executive director at the Homeless Prenatal Program\u003c/a>, near San Francisco General Hospital. During a visit the other day, the receptionist counted out free diapers to give to a client — a mom with twins. Ryan believes Measure S will help to take the pressure off families living in poverty.\u003c/p>\n\u003cp>“If you’re living on a limited budget, and you have a child in diapers, you have to make the choice,” Ryan said. “Are you going to keep him in a dirty diaper, or are you going to buy food?”\u003c/p>\n\u003cp>Ryan’s program serves more than 4,000 families a year, and she says this demographic group is the fastest-growing segment of the city’s homeless population. So she makes no apologies for hoping voters approve a dedicated source of funds for groups like hers.\u003c/p>\n\u003cp>“Families need to have hope,” Ryan said. “If you don’t have hope, how can you put one foot in front of the other and expect it to be better the next day?”\u003c/p>\n\u003cp>There’s no official opposition to Proposition S. But the \u003ca href=\"http://www.sfchronicle.com/opinion/editorials/article/Chronicle-recommends-No-on-SF-Prop-S-9967725.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> recommends a no vote\u003c/a>, arguing that locking-in funding is bad public policy.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/7441\" target=\"_blank\" rel=\"noopener\">City Controller Ben Rosenfield notes another concern\u003c/a>. Proposition S would allocate about $103 million for arts and homeless services organizations by 2020, and that means less money for libraries, youth services and public transit. “So anything that increases an allocation for one good purpose is going to be by definition pulling it away for something that may be equally valuable,” Rosenfield said.\u003c/p>\n\u003cp>Proposition S is about money and allocating taxes. It needs a two-thirds margin to pass.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/6910\" target=\"_blank\" rel=\"noopener\">Proposition X,\u003c/a> meanwhile, is about preserving creative space. But it shares with S a concern about the changing character of San Francisco. Both measures promise a more compassionate, cultured, and diverse city.\u003c/p>\n\u003cfigure id=\"attachment_12259646\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12259646 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg\" alt=\"Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the advocates for Proposition X is Kevin McKracken, co-founder of South of Market’s \u003ca href=\"https://socialimprints.com\" target=\"_blank\" rel=\"noopener\">Social Imprints\u003c/a>, a company that makes everything from branded water bottles to tote bags.\u003c/p>\n\u003cp>On a recent visit, McKracken showed off his t-shirt screen printing line, and then stepped outside to show why city voters need to approve Proposition X. “Down here where you see that big piece of equipment moving, that is where our business sign was finished,” McKracken said. “You can see it’s empty now, under conversion to condos. The one next to it was a repair facility for tour buses and then for MUNI. That’s gone. That’s condos now.”\u003c/p>\n\u003cp>In the last five years, the Mission and South of Market neighborhoods have lost almost a million square feet of production, distribution and repair space (known as PDR space), including dozens of artist studios, as a result of the growth of new condos and office space.\u003c/p>\n\u003cfigure id=\"attachment_12256123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12256123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/007-800x603.jpg\" alt=\"Social Imprints, a small branding and print screening company in San Francisco's South of Market neighborhood\" width=\"800\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1920x1446.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1180x889.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-960x723.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Social Imprints, a small branding and print screening company in San Francisco’s South of Market neighborhood \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McKracken argues Proposition X would check that trend by requiring developers to include PDR spaces that might otherwise be displaced when they’re building new housing or corporate facilities.\u003c/p>\n\u003cp>“It keeps not just the culture diverse, but the economy diverse from an artistic standpoint,” McKracken said. “Because a lot of these guys are artists, and if they can afford to live here, they can continue to afford to do art here.”\u003c/p>\n\u003cp>\u003ca href=\"http://sfbos.org/supervisor-kim-district-6\" target=\"_blank\" rel=\"noopener\">Supervisor Jane Kim \u003c/a>and allies on the board put Proposition X on the ballot. She said the measure would save hundreds of jobs.\u003cbr>\n“Our middle class is getting evicted out of San Francisco; our manufacturing, auto repair shops and arts organizations are getting evicted out of San Francisco,” Kim said. “This legislation is working to address that very concern.”\u003c/p>\n\u003cp>But Proposition X has a crucial opponent. “This measure will backfire,” said \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">Kate Sofis, \u003c/a>founding executive director for \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">SFMade\u003c/a>, an organization aimed at promoting the interests of the city’s local manufacturers.\u003c/p>\n\u003cfigure id=\"attachment_12256346\" class=\"wp-caption alignright\" style=\"max-width: 475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12256346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg\" alt=\"Kate Sofis of SFMade\" width=\"475\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-520x376.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374.jpg 1922w\" sizes=\"(max-width: 475px) 100vw, 475px\">\u003cfigcaption class=\"wp-caption-text\">Kate Sofis of SFMade \u003ccite>(Photo: Courtesy of SFMade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofis said Kim never consulted the group and its members, who really don’t want to share space with housing in new developments. “They tend to be much more very expensive than existing industrial space because they’re new construction, and thus not really viable,” Sofis said.\u003c/p>\n\u003cp>Whatever the outcome, Propositions X and S show San Franciscans’ anxiety about what kind of city they want to live in — a concern shared by residents all over the Bay Area.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We will not be a great city if we do not understand the relationship between art, creativity, and quality of life,” said \u003ca href=\"https://ybca.org/staff/deborah-cullinan\" target=\"_blank\" rel=\"noopener\">Deborah Cullinan,\u003c/a> YBCA’s CEO and an advocate for Proposition S.\u003c/p>\n\n",
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"excerpt": "San Franciscans vote on two propositions that promise a more compassionate, cultured, and diverse city.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.ybca.org/staff/jonathan-moscone\" target=\"_blank\" rel=\"noopener\">Jon Moscone \u003c/a>is chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA). He’s also pretty good at leading pep rallies, like the one he spoke at recently on behalf of \u003ca href=\"http://bettersf.com/\" target=\"_blank\" rel=\"noopener\">Proposition S\u003c/a>.\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/290085707″&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/290085707″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I want to make good on the promise that this city made in 1961, \u003ca href=\"http://sfgfta.org/about/history-and-purpose/\" target=\"_blank\" rel=\"noopener\">when it dedicated hotel tax to the arts \u003c/a>and then to low-income housing,” Moscone said to applause from an audience of around 100 arts leaders and homeless advocates gathered at YBCA in late September. “I want to restore that promise to the city of San Francisco. That’s because I love this city.”\u003c/p>\n\u003cp>Moscone spoke at the YBCA in his role as co-sponsor of Proposition S, which guarantees a share of the city’s hotel tax to arts groups and those working with homeless families — all without raising taxes on voters. In the crowd, for example, were representatives from the Asian Pacific Islander Cultural Center, Hospitality House, and the SRO Families United Collaborative.\u003c/p>\n\u003cp>San Francisco first imposed a hotel tax for the arts in 1961. But since the recession, the city has taken a growing slice of this $380 million fund for other uses in the general budget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the link between arts groups and organizations working to improve the lives of homeless families sounds like an odd coupling, it’s not to \u003ca href=\"http://www.moadsf.org/about-us/our-staff/\" target=\"_blank\" rel=\"noopener\">Linda Harrison, executive director for the Museum of the African Diaspora\u003c/a>. Harrison was one of many arts leaders at the rally working to pass the measure.\u003c/p>\n\u003cp>“We can’t be an arts organization and ignore the fact that a kid on a school tour is hungry,” Harrison said. “And if they have a place to stay, now they have some calmness, and art and culture can be part of that.”\u003c/p>\n\u003cfigure id=\"attachment_12259643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12259643\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg\" alt=\"Homeless Prenatal Program Executive Director Martha Ryan\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homeless Prenatal Program Executive Director Martha Ryan \u003ccite>(Photo: Courtesy of Homless )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The measure’s co-sponsor is \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Martha Ryan, executive director at the Homeless Prenatal Program\u003c/a>, near San Francisco General Hospital. During a visit the other day, the receptionist counted out free diapers to give to a client — a mom with twins. Ryan believes Measure S will help to take the pressure off families living in poverty.\u003c/p>\n\u003cp>“If you’re living on a limited budget, and you have a child in diapers, you have to make the choice,” Ryan said. “Are you going to keep him in a dirty diaper, or are you going to buy food?”\u003c/p>\n\u003cp>Ryan’s program serves more than 4,000 families a year, and she says this demographic group is the fastest-growing segment of the city’s homeless population. So she makes no apologies for hoping voters approve a dedicated source of funds for groups like hers.\u003c/p>\n\u003cp>“Families need to have hope,” Ryan said. “If you don’t have hope, how can you put one foot in front of the other and expect it to be better the next day?”\u003c/p>\n\u003cp>There’s no official opposition to Proposition S. But the \u003ca href=\"http://www.sfchronicle.com/opinion/editorials/article/Chronicle-recommends-No-on-SF-Prop-S-9967725.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> recommends a no vote\u003c/a>, arguing that locking-in funding is bad public policy.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/7441\" target=\"_blank\" rel=\"noopener\">City Controller Ben Rosenfield notes another concern\u003c/a>. Proposition S would allocate about $103 million for arts and homeless services organizations by 2020, and that means less money for libraries, youth services and public transit. “So anything that increases an allocation for one good purpose is going to be by definition pulling it away for something that may be equally valuable,” Rosenfield said.\u003c/p>\n\u003cp>Proposition S is about money and allocating taxes. It needs a two-thirds margin to pass.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/6910\" target=\"_blank\" rel=\"noopener\">Proposition X,\u003c/a> meanwhile, is about preserving creative space. But it shares with S a concern about the changing character of San Francisco. Both measures promise a more compassionate, cultured, and diverse city.\u003c/p>\n\u003cfigure id=\"attachment_12259646\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12259646 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg\" alt=\"Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the advocates for Proposition X is Kevin McKracken, co-founder of South of Market’s \u003ca href=\"https://socialimprints.com\" target=\"_blank\" rel=\"noopener\">Social Imprints\u003c/a>, a company that makes everything from branded water bottles to tote bags.\u003c/p>\n\u003cp>On a recent visit, McKracken showed off his t-shirt screen printing line, and then stepped outside to show why city voters need to approve Proposition X. “Down here where you see that big piece of equipment moving, that is where our business sign was finished,” McKracken said. “You can see it’s empty now, under conversion to condos. The one next to it was a repair facility for tour buses and then for MUNI. That’s gone. That’s condos now.”\u003c/p>\n\u003cp>In the last five years, the Mission and South of Market neighborhoods have lost almost a million square feet of production, distribution and repair space (known as PDR space), including dozens of artist studios, as a result of the growth of new condos and office space.\u003c/p>\n\u003cfigure id=\"attachment_12256123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12256123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/007-800x603.jpg\" alt=\"Social Imprints, a small branding and print screening company in San Francisco's South of Market neighborhood\" width=\"800\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1920x1446.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1180x889.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-960x723.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Social Imprints, a small branding and print screening company in San Francisco’s South of Market neighborhood \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McKracken argues Proposition X would check that trend by requiring developers to include PDR spaces that might otherwise be displaced when they’re building new housing or corporate facilities.\u003c/p>\n\u003cp>“It keeps not just the culture diverse, but the economy diverse from an artistic standpoint,” McKracken said. “Because a lot of these guys are artists, and if they can afford to live here, they can continue to afford to do art here.”\u003c/p>\n\u003cp>\u003ca href=\"http://sfbos.org/supervisor-kim-district-6\" target=\"_blank\" rel=\"noopener\">Supervisor Jane Kim \u003c/a>and allies on the board put Proposition X on the ballot. She said the measure would save hundreds of jobs.\u003cbr>\n“Our middle class is getting evicted out of San Francisco; our manufacturing, auto repair shops and arts organizations are getting evicted out of San Francisco,” Kim said. “This legislation is working to address that very concern.”\u003c/p>\n\u003cp>But Proposition X has a crucial opponent. “This measure will backfire,” said \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">Kate Sofis, \u003c/a>founding executive director for \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">SFMade\u003c/a>, an organization aimed at promoting the interests of the city’s local manufacturers.\u003c/p>\n\u003cfigure id=\"attachment_12256346\" class=\"wp-caption alignright\" style=\"max-width: 475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12256346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg\" alt=\"Kate Sofis of SFMade\" width=\"475\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-520x376.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374.jpg 1922w\" sizes=\"(max-width: 475px) 100vw, 475px\">\u003cfigcaption class=\"wp-caption-text\">Kate Sofis of SFMade \u003ccite>(Photo: Courtesy of SFMade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofis said Kim never consulted the group and its members, who really don’t want to share space with housing in new developments. “They tend to be much more very expensive than existing industrial space because they’re new construction, and thus not really viable,” Sofis said.\u003c/p>\n\u003cp>Whatever the outcome, Propositions X and S show San Franciscans’ anxiety about what kind of city they want to live in — a concern shared by residents all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We will not be a great city if we do not understand the relationship between art, creativity, and quality of life,” said \u003ca href=\"https://ybca.org/staff/deborah-cullinan\" target=\"_blank\" rel=\"noopener\">Deborah Cullinan,\u003c/a> YBCA’s CEO and an advocate for Proposition S.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> San Francisco filmmaker Kevin Epps will not be charged in the fatal shooting of a man in his Glen Park home. The district attorney’s office tells KQED “There is insufficient evidence to charge the case at this time. The case remains under investigation.”\u003c/p>\n\u003cp>A video was posted to Epps’ \u003ca href=\"https://www.instagram.com/p/BMB4cpcgC-B/?taken-by=kevinepps1\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a> Wednesday morning, tagged God is great #freshout , let me live. Blacklivesmatter#kevinepps I love my kids #kamaridakid @musicallytied. In the video, Epps can be heard to say “Man, it’s good to be out. This is a blessing.”\u003c/p>\n\u003cp>San Francisco police arrested Epps in connection with a fatal shooting in the Glen Park neighborhood Monday afternoon.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290159024″ 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>Paramedics who responded to the scene declared the victim, a man in his 40s, dead by gunshot. Neither the SFPD nor the Coroner’s office has identified the man, but the victim’s son, Marcus Polk, Jr, told \u003ca href=\"http://www.nbcbayarea.com/news/local/SFPD-Investigating-Homicide-in-Glen-Park-398264461.html\" target=\"_blank\" rel=\"noopener\">NBC Bay Area\u003c/a> it was his dad and that the two men, Polk, Sr. and Epps, argued before the shooting. \u003ca href=\"http://sanfrancisco.cbslocal.com/video/category/news/3566872-san-francisco-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">CBS reported\u003c/a> Epps is married to the woman Marcus Polk, Sr, used to be married to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the details of what happened Monday are still unclear, friends of Epps have been tweeting in sympathy.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Prayers up☝ for the brother \u003ca href=\"https://twitter.com/kevinepps\">@kevinepps\u003c/a> and his family ????????\u003c/p>\n\u003cp>— Khalid A.White, Ed.D (@brother_white) \u003ca href=\"https://twitter.com/brother_white/status/790924978321403908\">October 25, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Epps rose to fame in 2003 after producing and directing the documentary \u003ca href=\"http://www.imdb.com/name/nm1338821/bio?ref_=nm_ov_bio_sm\">\u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/a> The critically acclaimed film focused on the gang life and violence in one of San Francisco’s roughest neighborhoods. He followed it in 2014 with \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2012/02/23/with_straight_outta_hunters_point_2_filmmaker_kevin_epps_goes/\" target=\"_blank\" rel=\"noopener\">Straight Outta Hunters Point 2\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Over the years, Epps became a community activist focused on the African-American experience in the San Francisco Bay Area. His other films include \u003ca href=\"http://www.imdb.com/title/tt3492470/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener\">\u003ci>Rap Dreams\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt4369060/?ref_=nm_ov_bio_lk3\" target=\"_blank\" rel=\"noopener\">\u003ci>The Black Rock AKA Black Alcatraz\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Epps remains best known as an ambassador for the neighborhood he grew up in. In a \u003ca href=\"http://archives.sfweekly.com/exhibitionist/2012/02/24/kevin-epps-on-his-life-changing-straight-outta-hunters-point-documentaries\" target=\"_blank\" rel=\"noopener\">2012 interview\u003c/a> with \u003cem>SF Weekly\u003c/em>, Epps said, “I was able to showcase the film at all these different film festivals and people that would never know about Bayview-Hunters Point could get a view of it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5bvDqVzoTdI\u003c/p>\n\u003cp>Rudy Corpuz, Jr, heads the violence prevention program \u003ca href=\"http://unitedplayaz.com/\" target=\"_blank\" rel=\"noopener\">United Playaz\u003c/a>, where Epps recently hosted a workshop for teens on entrepreneurship. “Everything he talked about was about growth,” Corpuz says. “It was about development. It was about building your spirit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Corpuz adds he knows Epps to be the kind of guy who would neutralize heated situations, not escalate them. But with so few details available, Corpuz can only wait to find out what really happened.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> San Francisco filmmaker Kevin Epps will not be charged in the fatal shooting of a man in his Glen Park home. The district attorney’s office tells KQED “There is insufficient evidence to charge the case at this time. The case remains under investigation.”\u003c/p>\n\u003cp>A video was posted to Epps’ \u003ca href=\"https://www.instagram.com/p/BMB4cpcgC-B/?taken-by=kevinepps1\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a> Wednesday morning, tagged God is great #freshout , let me live. Blacklivesmatter#kevinepps I love my kids #kamaridakid @musicallytied. In the video, Epps can be heard to say “Man, it’s good to be out. This is a blessing.”\u003c/p>\n\u003cp>San Francisco police arrested Epps in connection with a fatal shooting in the Glen Park neighborhood Monday afternoon.\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/290159024″&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/290159024″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Paramedics who responded to the scene declared the victim, a man in his 40s, dead by gunshot. Neither the SFPD nor the Coroner’s office has identified the man, but the victim’s son, Marcus Polk, Jr, told \u003ca href=\"http://www.nbcbayarea.com/news/local/SFPD-Investigating-Homicide-in-Glen-Park-398264461.html\" target=\"_blank\" rel=\"noopener\">NBC Bay Area\u003c/a> it was his dad and that the two men, Polk, Sr. and Epps, argued before the shooting. \u003ca href=\"http://sanfrancisco.cbslocal.com/video/category/news/3566872-san-francisco-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">CBS reported\u003c/a> Epps is married to the woman Marcus Polk, Sr, used to be married to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the details of what happened Monday are still unclear, friends of Epps have been tweeting in sympathy.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Prayers up☝ for the brother \u003ca href=\"https://twitter.com/kevinepps\">@kevinepps\u003c/a> and his family ????????\u003c/p>\n\u003cp>— Khalid A.White, Ed.D (@brother_white) \u003ca href=\"https://twitter.com/brother_white/status/790924978321403908\">October 25, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Epps rose to fame in 2003 after producing and directing the documentary \u003ca href=\"http://www.imdb.com/name/nm1338821/bio?ref_=nm_ov_bio_sm\">\u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/a> The critically acclaimed film focused on the gang life and violence in one of San Francisco’s roughest neighborhoods. He followed it in 2014 with \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2012/02/23/with_straight_outta_hunters_point_2_filmmaker_kevin_epps_goes/\" target=\"_blank\" rel=\"noopener\">Straight Outta Hunters Point 2\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Over the years, Epps became a community activist focused on the African-American experience in the San Francisco Bay Area. His other films include \u003ca href=\"http://www.imdb.com/title/tt3492470/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener\">\u003ci>Rap Dreams\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt4369060/?ref_=nm_ov_bio_lk3\" target=\"_blank\" rel=\"noopener\">\u003ci>The Black Rock AKA Black Alcatraz\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Epps remains best known as an ambassador for the neighborhood he grew up in. In a \u003ca href=\"http://archives.sfweekly.com/exhibitionist/2012/02/24/kevin-epps-on-his-life-changing-straight-outta-hunters-point-documentaries\" target=\"_blank\" rel=\"noopener\">2012 interview\u003c/a> with \u003cem>SF Weekly\u003c/em>, Epps said, “I was able to showcase the film at all these different film festivals and people that would never know about Bayview-Hunters Point could get a view of it.”\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/5bvDqVzoTdI'\n title='//www.youtube.com/embed/5bvDqVzoTdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rudy Corpuz, Jr, heads the violence prevention program \u003ca href=\"http://unitedplayaz.com/\" target=\"_blank\" rel=\"noopener\">United Playaz\u003c/a>, where Epps recently hosted a workshop for teens on entrepreneurship. “Everything he talked about was about growth,” Corpuz says. “It was about development. It was about building your spirit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Corpuz adds he knows Epps to be the kind of guy who would neutralize heated situations, not escalate them. But with so few details available, Corpuz can only wait to find out what really happened.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first room is entirely white, including white floors so glossy you feel you should take your shoes off. A semicircle of white leather lounge chairs surrounds a stage screened off with a see-through white curtain. My first reaction? It looks like a nail salon run by Barbarella.\u003c/p>\n\u003cp>“That’s it. Yes, yes!” laughs \u003ca href=\"http://www.davidbyrne.com\" target=\"_blank\" rel=\"noopener\">David Byrne\u003c/a>, my tour guide through this surreal space. Then he adds, “We don’t do nails. You get embodied in the body of a doll in this room.”\u003c/p>\n\u003cp>Byrne — yes, of Talking Heads fame and many other creative achievements — is walking me through his latest project, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">The Institute Presents: Neurosociety\u003c/a>. \u003c/em>It’s an immersive, participatory theater performance at Pace Art + Technology in Menlo Park, one of three Silicon Valley-based art spaces occupied by the New York-based Pace art gallery chain. The multi-room installation makes you, the visitor, a participant in a series of “scientific experiments” focused on how the human brain perceives what it senses, comes to conclusions, and then acts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302366505″ 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\u003ch3>‘What you see might not actually be what’s out there’\u003c/h3>\n\u003cp>In the room we’re standing in, the doll is topped by two cameras instead of a head. When you don a virtual reality headset, you can see what the doll sees. This has the effect of fooling your brain into adopting the doll’s perspective. The idea for this trick comes from \u003ca href=\"http://www.ehrssonlab.se/\" target=\"_blank\" rel=\"noopener\">Group Ehrsson\u003c/a>, a neuroscience research firm based in Sweden, which did the very same thing in a lab much less sexy than this space.\u003c/p>\n\u003cfigure id=\"attachment_12236391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg\" alt=\"Based on research from the Ehrsson Lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains' body awareness can be manipulated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Based on research from the Ehrsson lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains’ body awareness can be manipulated. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is an avid fan of science. “I’d read about certain experiments that labs had done, and my immediate thought was ‘I want to do that,'” he says. “I want to be the subject. I want to see what that’s like.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together with his friend, technology investor\u003cstrong> \u003c/strong>Mala Gaonkar, Byrne visited 35 research labs around the world to hear about the latest developments in cognitive neuroscience. Their conversations ranged from how your brain figures out where it is in space, to more complicated questions about how your sense of affinity with other human beings affects your moral judgement.\u003c/p>\n\u003cp>“What you see might not actually be what’s out there,” says Gaonkar. “And what you feel, including your deepest sense of identity, might not actually be what’s out there.”\u003c/p>\n\u003cfigure id=\"attachment_12236393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236393\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg\" alt=\"Perhaps the most disturbed experiment happens in a room set up like a TV game show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perhaps the most disturbed experiment happens in a room set up like a TV game show. \u003ccite>(Photo: Courtesy of Kenny Komer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neural Science Professor Paul Glimcher leads the \u003ca href=\"http://kavlihumanproject.org\" target=\"_blank\" rel=\"noopener\">Kavli HUMAN Project\u003c/a> at New York University, an interdisciplinary research group focused on decision-making in humans from a public policy perspective. He was among the scientists interviewed by Byrne and Gaonkar as they sought to educate themselves about cognitive neuroscience for their art project.\u003c/p>\n\u003cp>“David and Mala have designed a set of experiences that really lay bare the nature of our human experiences in areas ranging from perception to decision-making,” Glimcher says.\u003c/p>\n\u003ch3>What if you were a drone pilot?\u003c/h3>\n\u003cp>In another part of the installation, Byrne and Gaonkar have visitors watch a scene from the movie \u003ca href=\"https://www.youtube.com/watch?v=MBCeP_i9BxI\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye in the Sky\u003c/em>\u003c/a>. In it, military commanders tell a drone pilot there are terrorists in a particular house, plotting a suicide bombing. He must blow the building up.\u003c/p>\n\u003cp>“You are cleared to engage, lieutenant,” says Colonel Katherine Powell, played by British actor Helen Mirren. But outside, there appears to be an innocent civilian, a woman preparing to sell bread. The drone pilot hesitates.\u003c/p>\n\u003cp>“Those men are about to disperse. Engage now!” Colonel Powell barks.\u003c/p>\n\u003cp>It’s a disturbing scene, and Byrne and Gaonkar want you to imagine yourself as that drone pilot, making that awful, split-second decision of life and death.\u003c/p>\n\u003cp>They also want to play with the nature of the moral dilemma.\u003c/p>\n\u003cfigure id=\"attachment_12250032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12250032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg\" alt=\"David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases - without being preachy about it.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases – without being preachy about it. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We start bringing it closer and closer and closer,” explains Byrne. Finally, the scene morphs so that we see a kid selling lemonade in front of a house on University Avenue in Palo Alto, instead of the bread seller in some far-off country. What fascinates Byrne is that people will change their response as to whether they’d blow up the building, and then retroactively search for justifications to explain why.\u003c/p>\n\u003ch3>Had this been a real science experiment…\u003c/h3>\n\u003cp>While the “experiments” at Pace draw on real research, this is theater, first and foremost. The situations don’t attach in lock step to specific studies Byrne and Gaonkar explored. Rather, the pair used their explorations to come up with something that evokes the same sense of wonder and surprise you might have as a study subject in an actual science lab.\u003c/p>\n\u003cp>At the end of their visit, visitors will get the results of these experiments, and the information will be shared with participating labs — though the labs have no plans to use the data. “This is really about sparking a discussion, as opposed to hardcore science,” Goankar says.\u003c/p>\n\u003cfigure id=\"attachment_12236394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg\" alt='David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies \"really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies “really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is convinced the installation will be transformative. “It really does change how you think about things, how you think about what we are and how we react and how make decisions and how we are in the world,” Byrne says. “It’s a bit pretentious to imagine that’s going to happen for everybody who goes through this, but it certainly happened to us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Institute Presents: Neurosociety’ continues through March 31, 2017, at Pace Art+Technology in Menlo Park. See \u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for tickets and more information.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first room is entirely white, including white floors so glossy you feel you should take your shoes off. A semicircle of white leather lounge chairs surrounds a stage screened off with a see-through white curtain. My first reaction? It looks like a nail salon run by Barbarella.\u003c/p>\n\u003cp>“That’s it. Yes, yes!” laughs \u003ca href=\"http://www.davidbyrne.com\" target=\"_blank\" rel=\"noopener\">David Byrne\u003c/a>, my tour guide through this surreal space. Then he adds, “We don’t do nails. You get embodied in the body of a doll in this room.”\u003c/p>\n\u003cp>Byrne — yes, of Talking Heads fame and many other creative achievements — is walking me through his latest project, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">The Institute Presents: Neurosociety\u003c/a>. \u003c/em>It’s an immersive, participatory theater performance at Pace Art + Technology in Menlo Park, one of three Silicon Valley-based art spaces occupied by the New York-based Pace art gallery chain. The multi-room installation makes you, the visitor, a participant in a series of “scientific experiments” focused on how the human brain perceives what it senses, comes to conclusions, and then acts.\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/302366505″&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/302366505″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>‘What you see might not actually be what’s out there’\u003c/h3>\n\u003cp>In the room we’re standing in, the doll is topped by two cameras instead of a head. When you don a virtual reality headset, you can see what the doll sees. This has the effect of fooling your brain into adopting the doll’s perspective. The idea for this trick comes from \u003ca href=\"http://www.ehrssonlab.se/\" target=\"_blank\" rel=\"noopener\">Group Ehrsson\u003c/a>, a neuroscience research firm based in Sweden, which did the very same thing in a lab much less sexy than this space.\u003c/p>\n\u003cfigure id=\"attachment_12236391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg\" alt=\"Based on research from the Ehrsson Lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains' body awareness can be manipulated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Based on research from the Ehrsson lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains’ body awareness can be manipulated. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is an avid fan of science. “I’d read about certain experiments that labs had done, and my immediate thought was ‘I want to do that,'” he says. “I want to be the subject. I want to see what that’s like.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together with his friend, technology investor\u003cstrong> \u003c/strong>Mala Gaonkar, Byrne visited 35 research labs around the world to hear about the latest developments in cognitive neuroscience. Their conversations ranged from how your brain figures out where it is in space, to more complicated questions about how your sense of affinity with other human beings affects your moral judgement.\u003c/p>\n\u003cp>“What you see might not actually be what’s out there,” says Gaonkar. “And what you feel, including your deepest sense of identity, might not actually be what’s out there.”\u003c/p>\n\u003cfigure id=\"attachment_12236393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236393\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg\" alt=\"Perhaps the most disturbed experiment happens in a room set up like a TV game show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perhaps the most disturbed experiment happens in a room set up like a TV game show. \u003ccite>(Photo: Courtesy of Kenny Komer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neural Science Professor Paul Glimcher leads the \u003ca href=\"http://kavlihumanproject.org\" target=\"_blank\" rel=\"noopener\">Kavli HUMAN Project\u003c/a> at New York University, an interdisciplinary research group focused on decision-making in humans from a public policy perspective. He was among the scientists interviewed by Byrne and Gaonkar as they sought to educate themselves about cognitive neuroscience for their art project.\u003c/p>\n\u003cp>“David and Mala have designed a set of experiences that really lay bare the nature of our human experiences in areas ranging from perception to decision-making,” Glimcher says.\u003c/p>\n\u003ch3>What if you were a drone pilot?\u003c/h3>\n\u003cp>In another part of the installation, Byrne and Gaonkar have visitors watch a scene from the movie \u003ca href=\"https://www.youtube.com/watch?v=MBCeP_i9BxI\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye in the Sky\u003c/em>\u003c/a>. In it, military commanders tell a drone pilot there are terrorists in a particular house, plotting a suicide bombing. He must blow the building up.\u003c/p>\n\u003cp>“You are cleared to engage, lieutenant,” says Colonel Katherine Powell, played by British actor Helen Mirren. But outside, there appears to be an innocent civilian, a woman preparing to sell bread. The drone pilot hesitates.\u003c/p>\n\u003cp>“Those men are about to disperse. Engage now!” Colonel Powell barks.\u003c/p>\n\u003cp>It’s a disturbing scene, and Byrne and Gaonkar want you to imagine yourself as that drone pilot, making that awful, split-second decision of life and death.\u003c/p>\n\u003cp>They also want to play with the nature of the moral dilemma.\u003c/p>\n\u003cfigure id=\"attachment_12250032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12250032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg\" alt=\"David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases - without being preachy about it.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases – without being preachy about it. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We start bringing it closer and closer and closer,” explains Byrne. Finally, the scene morphs so that we see a kid selling lemonade in front of a house on University Avenue in Palo Alto, instead of the bread seller in some far-off country. What fascinates Byrne is that people will change their response as to whether they’d blow up the building, and then retroactively search for justifications to explain why.\u003c/p>\n\u003ch3>Had this been a real science experiment…\u003c/h3>\n\u003cp>While the “experiments” at Pace draw on real research, this is theater, first and foremost. The situations don’t attach in lock step to specific studies Byrne and Gaonkar explored. Rather, the pair used their explorations to come up with something that evokes the same sense of wonder and surprise you might have as a study subject in an actual science lab.\u003c/p>\n\u003cp>At the end of their visit, visitors will get the results of these experiments, and the information will be shared with participating labs — though the labs have no plans to use the data. “This is really about sparking a discussion, as opposed to hardcore science,” Goankar says.\u003c/p>\n\u003cfigure id=\"attachment_12236394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg\" alt='David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies \"really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies “really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is convinced the installation will be transformative. “It really does change how you think about things, how you think about what we are and how we react and how make decisions and how we are in the world,” Byrne says. “It’s a bit pretentious to imagine that’s going to happen for everybody who goes through this, but it certainly happened to us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Institute Presents: Neurosociety’ continues through March 31, 2017, at Pace Art+Technology in Menlo Park. See \u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for tickets and more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays",
"headTitle": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays | KQED",
"content": "\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \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=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \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=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289753182\" 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>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\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/289753182&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/289753182'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kevin Meaney, a comic’s comic who worked the standup circuit, was a staple on late-night TV and starred in the short-lived 1990s CBS series \u003cem>Uncle Buck\u003c/em>, has died at age 60, his agent said Saturday.\u003c/p>\n\u003cp>Meaney was found dead Friday at his home in Forestburgh, in upstate New York, said the agent, Tom Ingegno. The cause of death was not immediately known.\u003c/p>\n\u003cp>Meaney’s career spanned 30 years. The father and native New Yorker had a small role as an executive in the 1988 film comedy \u003cem>Big\u003c/em>, starring Tom Hanks, and helmed the CBS version of \u003cem>Uncle Buck\u003c/em>, which ran just one season, from 1990 to 1991.\u003c/p>\n\u003cp>It was his first HBO special, in 1986, that launched his comedy career after he toiled doing standup in San Francisco and Boston. In 1987, he took his first turn on \u003cem>The Tonight Show with Johnny Carson\u003c/em>. He also appeared as a guest on \u003cem>Saturday Night Live\u003c/em> and on shows including those hosted by David Letterman, Oprah Winfrey and Conan O’Brien.\u003c/p>\n\u003cp>Condolences poured in via social media from Meaney’s fellow comedians, including this on Twitter from Kevin Nealon, who referenced one of Meaney’s favorite topics, his judgmental, high-strung parents:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So sorry to hear about the passing of comedian Kevin Meaney. He made me laugh hard. What a talent and nice guy. Truly ‘big pants people.'”\u003c/p>\n\u003cp>Meaney was also known for his raucous “I Don’t Care” song in standup routines that had him dancing and waving around one arm: “I don’t care. I don’t care. My jokes don’t go over, I don’t care!”\u003c/p>\n\u003cp>Bob Saget, Judd Apatow, Patton Oswalt and Michael McKean were among others to laud Meaney for his acting, standup chops and sweet personality.\u003c/p>\n\u003cp>“Kevin Meaney was as funny as they get and the nicest man. He could make you lose your mind laughing. A very special person,” Apatow tweeted.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kevin Meaney, a comic’s comic who worked the standup circuit, was a staple on late-night TV and starred in the short-lived 1990s CBS series \u003cem>Uncle Buck\u003c/em>, has died at age 60, his agent said Saturday.\u003c/p>\n\u003cp>Meaney was found dead Friday at his home in Forestburgh, in upstate New York, said the agent, Tom Ingegno. The cause of death was not immediately known.\u003c/p>\n\u003cp>Meaney’s career spanned 30 years. The father and native New Yorker had a small role as an executive in the 1988 film comedy \u003cem>Big\u003c/em>, starring Tom Hanks, and helmed the CBS version of \u003cem>Uncle Buck\u003c/em>, which ran just one season, from 1990 to 1991.\u003c/p>\n\u003cp>It was his first HBO special, in 1986, that launched his comedy career after he toiled doing standup in San Francisco and Boston. In 1987, he took his first turn on \u003cem>The Tonight Show with Johnny Carson\u003c/em>. He also appeared as a guest on \u003cem>Saturday Night Live\u003c/em> and on shows including those hosted by David Letterman, Oprah Winfrey and Conan O’Brien.\u003c/p>\n\u003cp>Condolences poured in via social media from Meaney’s fellow comedians, including this on Twitter from Kevin Nealon, who referenced one of Meaney’s favorite topics, his judgmental, high-strung parents:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a small classroom-turned-theater space at San Francisco’s City College, Nataly Ortiz and Stephanie Tomasulo are in the throes of rehearsing Paul S. Flores’ new play, \u003cem>On the Hill\u003c/em>.\u003c/p>\n\u003cp>Ortiz plays Tomasulo’s great grandmother, who is grieving for the loss of her daughter. She’s a few words into the scene, script tightly in hand, when Flores interrupts her.\u003c/p>\n\u003cp>“‘We are \u003ci>Guerreros\u003c/i>,’” Flores says, repeating the actor’s line back at her to emphasize the rolling r’s. “You have to say it right.”\u003c/p>\n\u003cp>Adherence to a script is more than just professional practice. In \u003cem>On The Hill\u003c/em>, staged by local youth performing arts organization Loco Bloco, Flores takes his cues from a tragedy close to home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7jSGy-BnX-U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Developed in conjunction with a cast of talented, young, Bay Area actors, Paul Flores' new play addresses loss, gentrification, and the role translation plays in the lives of immigrants and their children.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a small classroom-turned-theater space at San Francisco’s City College, Nataly Ortiz and Stephanie Tomasulo are in the throes of rehearsing Paul S. Flores’ new play, \u003cem>On the Hill\u003c/em>.\u003c/p>\n\u003cp>Ortiz plays Tomasulo’s great grandmother, who is grieving for the loss of her daughter. She’s a few words into the scene, script tightly in hand, when Flores interrupts her.\u003c/p>\n\u003cp>“‘We are \u003ci>Guerreros\u003c/i>,’” Flores says, repeating the actor’s line back at her to emphasize the rolling r’s. “You have to say it right.”\u003c/p>\n\u003cp>Adherence to a script is more than just professional practice. In \u003cem>On The Hill\u003c/em>, staged by local youth performing arts organization Loco Bloco, Flores takes his cues from a tragedy close to home.\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/7jSGy-BnX-U'\n title='//www.youtube.com/embed/7jSGy-BnX-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reading Gaol, Where Oscar Wilde was Imprisoned, Unlocks Its Gates for Art",
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"content": "\u003cp>Beneath Gothic arches and metal walkways, a place of torment has been reclaimed as a place of creative ferment. In 1895, celebrated writer Oscar Wilde — author of \u003cem>The Importance of Being Earnest\u003c/em> and \u003cem>The Picture of Dorian Gray —\u003c/em> was convicted of homosexual activity and sentenced to two years in the infamous Reading Gaol.\u003c/p>\n\u003cp>The British prison, which was operational until 2013, has just reopened for an unusual art exhibition; \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">“Inside”\u003c/a> features installations and texts inspired by the prison and Wilde’s experiences there.\u003c/p>\n\u003cp>Cells where solitary prisoners counted down the days are now filled with art. In one, artist and film director Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. In another, a river flows through the torso of a woman in a diorama by American sculptor Robert Gober. In another, Wilde and his lover, Lord Alfred Douglas, known as Bosie, are reunited in a diptych by Marlene Dumas. The organization behind it all is called \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">Artangel\u003c/a> — it specializes in bringing cutting-edge art into unused and unusual spaces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"200\" height=\"133\" class=\"aligncenter size-full wp-image-12236594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cfigure id=\"attachment_12236992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, nearly 100 years after Wilde was imprisoned in Reading Gaol, Gawain Davis spent three months in the prison for cannabis possession. Leaning over a display case of mug shots of Wilde’s fellow prisoners, Davis observes: “They look like the same sort of people that I was back in here with, 100 years later!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Wilde, Davis spent 23 hours a day in his cell. The only sanitation was a bucket he had to empty — or “slop out” — himself: “You were unlocked, let down for breakfast, locked back up again to eat it, unlocked again to slop out, to empty the bucket, then locked up again,” Davis recalls.\u003c/p>\n\u003cp>A miserable existence for sure, but Davis says Wilde had it worse — in Wilde’s day, prisoners weren’t even allowed to talk.\u003c/p>\n\u003cp>When Wilde arrived, Reading Gaol was one great Victorian machine of Christian penance, forcing prisoners to meditate on their crimes in silence, while performing physical labor amid the reek of their own waste.\u003c/p>\n\u003cp>The privations broke Wilde — but they also inspired his last work, \u003ca href=\"https://www.poets.org/poetsorg/poem/ballad-reading-gaol\" target=\"_blank\" rel=\"noopener\">“The Ballad of Reading Gaol,”\u003c/a> which was written after his release. In those two years behind bars, letters were all he was permitted to write.\u003c/p>\n\u003cp>Several cells are filled with the sounds of “Letters of Separation,” named after this form of imprisonment. In one cell, artist Ai Wei Wei is heard reading aloud a letter to his son about his imprisonment in China. In another, playwright Gillian Slovo addresses her dead mother, Ruth First, who was imprisoned and then assassinated under South Africa’s Apartheid regime.\u003c/p>\n\u003cp>All the letters honor the one that inspired them: Wilde’s \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — “from the depths” — the 50,000-word letter he wrote to Bosie, his lover and betrayer.\u003c/p>\n\u003cp>Every Sunday, a different performer reads the entire 6-hour text aloud, in front of the original door to Wilde’s cell. Artangel co-director James Lingwood says it wasn’t hard to enlist an A-list cast of readers — including Ralph Fiennes, Ben Whishaw and Patti Smith; all they had to do was reach out to those who’ve cited Wilde as an influence.\u003c/p>\n\u003cfigure id=\"attachment_12236596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg\" alt=\"Wilde's cell door is exhibited in the prison chapel. Every Sunday, performers read <a href="https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde" target="_blank">De Profundis</a> — Wilde's 50,000-word letter he wrote while incarcerate\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilde’s cell door is exhibited in the prison chapel. Every Sunday, performers read \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — Wilde’s 50,000-word letter he wrote while incarcerate \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Almost without any exception they embraced the idea,” Lingwood says. “Because when else would you get the chance to kind of come to terms and pay homage to Oscar Wilde within the very place where he wrote this compelling, extended love letter?”\u003c/p>\n\u003cp>Lingwood has been struck by how much time visitors are spending at the exhibition. Jenny Welsh, a retired chaplain who’s worked at other prisons, traveled 40 miles to visit the jail. She found that the artwork that evoked the isolation of imprisonment was particularly powerful for her.\u003c/p>\n\u003cp>Her husband, Phillip Welsh, a retired clergyman, says the highlight for him was the renewed sense of connection with Wilde.\u003c/p>\n\u003cp>“It was standing in his cell and looking out at the same window and seeing the same patch of sky that he wrote about,” he says.\u003c/p>\n\u003cp>Wilde’s cell — number C33 — is the only one without an original art work. In one corner, visitors have left some flowers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in a sense, this entire exhibition is a floral offering to an artist seen as a martyr for loving, and living, in the wrong time, and the wrong place. \u003c/p>\n\u003cfigure id=\"attachment_12236592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg\" alt=\"Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition. \u003ccite>(Photo: Justin Tallis/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Reading+Gaol%2C+Where+Oscar+Wilde+Was+Imprisoned%2C+Unlocks+Its+Gates+For+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beneath Gothic arches and metal walkways, a place of torment has been reclaimed as a place of creative ferment. In 1895, celebrated writer Oscar Wilde — author of \u003cem>The Importance of Being Earnest\u003c/em> and \u003cem>The Picture of Dorian Gray —\u003c/em> was convicted of homosexual activity and sentenced to two years in the infamous Reading Gaol.\u003c/p>\n\u003cp>The British prison, which was operational until 2013, has just reopened for an unusual art exhibition; \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">“Inside”\u003c/a> features installations and texts inspired by the prison and Wilde’s experiences there.\u003c/p>\n\u003cp>Cells where solitary prisoners counted down the days are now filled with art. In one, artist and film director Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. In another, a river flows through the torso of a woman in a diorama by American sculptor Robert Gober. In another, Wilde and his lover, Lord Alfred Douglas, known as Bosie, are reunited in a diptych by Marlene Dumas. The organization behind it all is called \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">Artangel\u003c/a> — it specializes in bringing cutting-edge art into unused and unusual spaces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"200\" height=\"133\" class=\"aligncenter size-full wp-image-12236594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cfigure id=\"attachment_12236992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, nearly 100 years after Wilde was imprisoned in Reading Gaol, Gawain Davis spent three months in the prison for cannabis possession. Leaning over a display case of mug shots of Wilde’s fellow prisoners, Davis observes: “They look like the same sort of people that I was back in here with, 100 years later!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Wilde, Davis spent 23 hours a day in his cell. The only sanitation was a bucket he had to empty — or “slop out” — himself: “You were unlocked, let down for breakfast, locked back up again to eat it, unlocked again to slop out, to empty the bucket, then locked up again,” Davis recalls.\u003c/p>\n\u003cp>A miserable existence for sure, but Davis says Wilde had it worse — in Wilde’s day, prisoners weren’t even allowed to talk.\u003c/p>\n\u003cp>When Wilde arrived, Reading Gaol was one great Victorian machine of Christian penance, forcing prisoners to meditate on their crimes in silence, while performing physical labor amid the reek of their own waste.\u003c/p>\n\u003cp>The privations broke Wilde — but they also inspired his last work, \u003ca href=\"https://www.poets.org/poetsorg/poem/ballad-reading-gaol\" target=\"_blank\" rel=\"noopener\">“The Ballad of Reading Gaol,”\u003c/a> which was written after his release. In those two years behind bars, letters were all he was permitted to write.\u003c/p>\n\u003cp>Several cells are filled with the sounds of “Letters of Separation,” named after this form of imprisonment. In one cell, artist Ai Wei Wei is heard reading aloud a letter to his son about his imprisonment in China. In another, playwright Gillian Slovo addresses her dead mother, Ruth First, who was imprisoned and then assassinated under South Africa’s Apartheid regime.\u003c/p>\n\u003cp>All the letters honor the one that inspired them: Wilde’s \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — “from the depths” — the 50,000-word letter he wrote to Bosie, his lover and betrayer.\u003c/p>\n\u003cp>Every Sunday, a different performer reads the entire 6-hour text aloud, in front of the original door to Wilde’s cell. Artangel co-director James Lingwood says it wasn’t hard to enlist an A-list cast of readers — including Ralph Fiennes, Ben Whishaw and Patti Smith; all they had to do was reach out to those who’ve cited Wilde as an influence.\u003c/p>\n\u003cfigure id=\"attachment_12236596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg\" alt=\"Wilde's cell door is exhibited in the prison chapel. Every Sunday, performers read <a href="https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde" target="_blank">De Profundis</a> — Wilde's 50,000-word letter he wrote while incarcerate\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilde’s cell door is exhibited in the prison chapel. Every Sunday, performers read \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — Wilde’s 50,000-word letter he wrote while incarcerate \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Almost without any exception they embraced the idea,” Lingwood says. “Because when else would you get the chance to kind of come to terms and pay homage to Oscar Wilde within the very place where he wrote this compelling, extended love letter?”\u003c/p>\n\u003cp>Lingwood has been struck by how much time visitors are spending at the exhibition. Jenny Welsh, a retired chaplain who’s worked at other prisons, traveled 40 miles to visit the jail. She found that the artwork that evoked the isolation of imprisonment was particularly powerful for her.\u003c/p>\n\u003cp>Her husband, Phillip Welsh, a retired clergyman, says the highlight for him was the renewed sense of connection with Wilde.\u003c/p>\n\u003cp>“It was standing in his cell and looking out at the same window and seeing the same patch of sky that he wrote about,” he says.\u003c/p>\n\u003cp>Wilde’s cell — number C33 — is the only one without an original art work. In one corner, visitors have left some flowers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in a sense, this entire exhibition is a floral offering to an artist seen as a martyr for loving, and living, in the wrong time, and the wrong place. \u003c/p>\n\u003cfigure id=\"attachment_12236592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg\" alt=\"Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition. \u003ccite>(Photo: Justin Tallis/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Reading+Gaol%2C+Where+Oscar+Wilde+Was+Imprisoned%2C+Unlocks+Its+Gates+For+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-tribute-to-a-vibraphonist-unraveling-a-hard-problem-and-what-is-beauty",
"title": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty",
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"headTitle": "Cy and David’s Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty | 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/289227316″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”165″ iframe=”true” /]\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqEseMoPZ-o\u003c/p>\n\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2K0ptoYpuc\u003c/p>\n\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty | KQED",
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"headline": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty",
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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='”165″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/289227316″&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/289227316″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\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/DqEseMoPZ-o'\n title='//www.youtube.com/embed/DqEseMoPZ-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" 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/O2K0ptoYpuc'\n title='//www.youtube.com/embed/O2K0ptoYpuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-bing-crosby-and-silicon-valley-revolutionized-radio-and-tv",
"title": "How Bing Crosby and Silicon Valley Revolutionized Radio and TV",
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"content": "\u003cp>\u003ci>This piece is from our new series \u003cb>Into The Mix,\u003c/b> which focuses on little known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>The origin story of Silicon Valley typically centers on Stanford and steady funding from the US military. The marriage of technology and entertainment, as the story goes, came way later, with companies like Apple and Facebook.\u003c/p>\n\u003cp>But no.\u003c/p>\n\u003cp>The first company to revolutionize entertainment from the Valley was Ampex, launched in 1944. The company manufactured the first reel-to-reel machine for commercial use in the United States (based on German technology), and later, the first video recording machine. All in collaboration/competition with Bing Crosby. Yes, \u003cem>that\u003c/em> Bing Crosby.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch3>Is that live radio at 2am?\u003c/h3>\n\u003cp>In the aftermath of WWII, Silicon Valley stocked up on all sorts of German scientists and technology. After all, the Germans were hardly in a position to defend patents in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So it was an American serviceman, Jack Mullin, who brought home to the San Francisco Bay Area a technology completely unfamiliar to Americans: the Magnetophon, a magnetic tape recorder developed by German companies BASF and AEG in the 1930s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OA1oDxRo_lI&w=560&h=315\u003c/p>\n\u003cp>The technology put wax cylinders to shame. Magnetic tape recordings were so realistic that radio broadcasts sounded as though they were live, no matter the time of day. Mullin first heard the Berlin Philharmonic playing Beethoven’s Ninth Symphony on Radio Berlin — at 2am.\u003c/p>\n\u003cp>His search for how such a broadcast was possible led to his life’s work, starting with a couple devices and 50 reels of tape shipped home to tinker with and sell. Soon after, he had a celebrity customer: Bing Crosby.\u003c/p>\n\u003cp>Crosby, then starring on ABC’s \u003cem>Philco Radio Time\u003c/em>, loved the ability to do multiple takes and edit performances until he had a perfect radio show. (That, and he could play on the golf course while his show aired, pre-taped.) The networks fought him at first, but Crosby and the technology won out, and in 1947, \u003ca href=\"https://www.youtube.com/watch?v=ZziomfVrDuI\" target=\"_blank\" rel=\"noopener\">\u003cem>Philco Radio Time\u003c/em>\u003c/a> became the first tape-delayed radio broadcast in the United States.\u003c/p>\n\u003ch3>Crosby wasn’t the only one interested in the technology\u003c/h3>\n\u003cp>Henry Lowood, Stanford’s Curator for History of Science & Technology Collections, says Crosby wasn’t just a customer; he was an early version of a venture capitalist.\u003c/p>\n\u003cp>“He became very interested in promoting the technology and developing it,” Lowood said.\u003c/p>\n\u003cp>A scrappy start-up in San Carlos named the Ampex Electric and Manufacturing Company also adopted Mullin’s find, and Crosby paid Ampex $50,000 in the hope of seeing more of these marvelous machines manufactured on this side of the Atlantic.\u003c/p>\n\u003cfigure id=\"attachment_12200550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg\" alt=\"An early advertisement for Ampex.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut.jpg 1636w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early advertisement for Ampex. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Ampex would later move to Redwood City, and those who drive along Hwy. 101 can still see the company sign — even though Ampex is no longer, and its archives are \u003ca href=\"http://www.aes.org/aeshc/docs/press.releases/stanford.ampex.museum.mp3.html\" target=\"_blank\" rel=\"noopener noreferrer\">now managed by Stanford\u003c/a>.)\u003c/p>\n\u003cp>Today, if you visit the \u003ca href=\"http://library.stanford.edu/libraries/green/about\" target=\"_blank\" rel=\"noopener noreferrer\">Green Library\u003c/a> on the Stanford campus, you can see the dishwasher-sized device that was the first to go into regular broadcast service in the United States in 1948.\u003c/p>\n\u003cp>Listen to Lowood speaking at length about the \u003ca href=\"https://soundcloud.com/kqed-arts/ampex-full\" target=\"_blank\" rel=\"noopener\">legacy of Ampex\u003c/a>.\u003c/p>\n\u003cp>A former Ampex engineer restored it for display, which explains why, if you were to take it out of its glass case and plug it in, the machine would still play.\u003c/p>\n\u003cp>“I was just floored by the sound of the room being filled with music that was produced by it,” Lowood says. “[It] kind of revises your opinion about this kind of old technology and how it relates to our contemporary audio technologies, with compression and all of the other things that we accept when we listen to music.”\u003c/p>\n\u003cp>While broadcasting networks initially resisted pre-recorded radio shows, other performers, like Bob Hope, were quick to see the obvious benefits. Crosby also gave an Ampex 200A to Les Paul, who went on to develop \u003ca href=\"https://www.youtube.com/watch?v=D4Q1T_2C72g&feature=youtu.be&t=11m18s\" target=\"_blank\" rel=\"noopener noreferrer\">multi-track recording\u003c/a>.\u003c/p>\n\u003ch3>And then there was video\u003c/h3>\n\u003cfigure id=\"attachment_12199381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12199381 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg\" alt=\"The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-960x543.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1950s, Ampex competed against Crosby in the race to produce the first commercially viable video recorder, and Ampex won.\u003c/p>\n\u003cp>Fred Pfost, an Ampex engineer who worked on the project, was interviewed by the Audio Engineering Society in 2000, in which he described demonstrating the technology to CBS executives for the first time.\u003c/p>\n\u003cp>Unbeknownst to them, Pfost recorded a speech delivered by a vice president at the network. Then Pfost rewound the tape and played it back.\u003c/p>\n\u003cp>Choking up at the memory, he recalls, “There was total silence for probably 10 seconds, at which time they realized what was happening… There was clapping and shouting and foot stamping.”\u003c/p>\n\u003cp>That video recording team included Ray Dolby, one of several Ampex employees who went on to start landmark firms; others left to found \u003ca href=\"http://ethw.org/First-Hand:The_Development_of_Pong:_Early_Days_of_Atari_and_the_Video_Game_Industry\" target=\"_blank\" rel=\"noopener noreferrer\">Atari\u003c/a>, \u003ca href=\"http://www.businessinsider.com/rags-to-riches-story-of-larry-ellison-2015-5\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle\u003c/a> and \u003ca href=\"http://www.liquisearch.com/laurence_spitters/memorex\" target=\"_blank\" rel=\"noopener noreferrer\">Memorex\u003c/a>.\u003c/p>\n\u003cp>“So in a way,” Lowood says, “Ampex was not only the first entertainment technology company in Silicon Valley — it was also close to being the first to generate this culture of employees moving on to found other companies.”\u003c/p>\n\u003cp>But the cycle of technology is unstoppable, and after half a century of dominance in American TV, music, and radio studios, Ampex did a slow fade into history.\u003c/p>\n\u003cp>As KQED’s Peter Jon Shuler put it in a story 14 years ago about the \u003ca href=\"http://www.aes.org/aeshc/mp3/stanford.ampex/1-21-02-ampexcollection.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">company’s legacy\u003c/a>, “The digital revolution began to overshadow the technological innovations the firm helped establish.”\u003c/p>\n\u003ch3>Some of us still old enough to remember\u003c/h3>\n\u003cfigure id=\"attachment_12199767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg\" alt=\"Keven Guillory, editing a spot at KRE AM & FM in Berkeley, circa 1973.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut.jpg 959w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keven Guillory, editing a spot at \u003ca href=\"http://bayarearadio.org/schneider/kre.shtml\" target=\"_blank\" rel=\"noopener noreferrer\">KRE AM & FM\u003c/a> in Berkeley, circa 1973. \u003ccite>(Photo: Courtesy of Keven Guillory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ampex era may be over, but nostalgia doesn’t die easy.\u003c/p>\n\u003cp>Until digital editing software took over, radio reporters like yours truly collected razor blade scars all over our fingers, splicing bits of tape to put together stories, not unlike what Bing Crosby’s engineers were doing all the way back in 1948.\u003c/p>\n\u003cp>I have fond memories of the rock and roll of the two reels as I’d search for that pause between words where a splice might happen. I can still mimic the funny whoosh of that first word when I hit the play button, and the garbled chipmunk chatter I heard when pressing rewind.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is digital better? In some ways, yes; in other ways, no. But maybe that’s what the guys who used wax cylinders used to say when they got together to complain about magnetic tape…\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This piece is from our new series \u003cb>Into The Mix,\u003c/b> which focuses on little known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>The origin story of Silicon Valley typically centers on Stanford and steady funding from the US military. The marriage of technology and entertainment, as the story goes, came way later, with companies like Apple and Facebook.\u003c/p>\n\u003cp>But no.\u003c/p>\n\u003cp>The first company to revolutionize entertainment from the Valley was Ampex, launched in 1944. The company manufactured the first reel-to-reel machine for commercial use in the United States (based on German technology), and later, the first video recording machine. All in collaboration/competition with Bing Crosby. Yes, \u003cem>that\u003c/em> Bing Crosby.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch3>Is that live radio at 2am?\u003c/h3>\n\u003cp>In the aftermath of WWII, Silicon Valley stocked up on all sorts of German scientists and technology. After all, the Germans were hardly in a position to defend patents in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was an American serviceman, Jack Mullin, who brought home to the San Francisco Bay Area a technology completely unfamiliar to Americans: the Magnetophon, a magnetic tape recorder developed by German companies BASF and AEG in the 1930s.\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/OA1oDxRo_lI'\n title='//www.youtube.com/embed/OA1oDxRo_lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The technology put wax cylinders to shame. Magnetic tape recordings were so realistic that radio broadcasts sounded as though they were live, no matter the time of day. Mullin first heard the Berlin Philharmonic playing Beethoven’s Ninth Symphony on Radio Berlin — at 2am.\u003c/p>\n\u003cp>His search for how such a broadcast was possible led to his life’s work, starting with a couple devices and 50 reels of tape shipped home to tinker with and sell. Soon after, he had a celebrity customer: Bing Crosby.\u003c/p>\n\u003cp>Crosby, then starring on ABC’s \u003cem>Philco Radio Time\u003c/em>, loved the ability to do multiple takes and edit performances until he had a perfect radio show. (That, and he could play on the golf course while his show aired, pre-taped.) The networks fought him at first, but Crosby and the technology won out, and in 1947, \u003ca href=\"https://www.youtube.com/watch?v=ZziomfVrDuI\" target=\"_blank\" rel=\"noopener\">\u003cem>Philco Radio Time\u003c/em>\u003c/a> became the first tape-delayed radio broadcast in the United States.\u003c/p>\n\u003ch3>Crosby wasn’t the only one interested in the technology\u003c/h3>\n\u003cp>Henry Lowood, Stanford’s Curator for History of Science & Technology Collections, says Crosby wasn’t just a customer; he was an early version of a venture capitalist.\u003c/p>\n\u003cp>“He became very interested in promoting the technology and developing it,” Lowood said.\u003c/p>\n\u003cp>A scrappy start-up in San Carlos named the Ampex Electric and Manufacturing Company also adopted Mullin’s find, and Crosby paid Ampex $50,000 in the hope of seeing more of these marvelous machines manufactured on this side of the Atlantic.\u003c/p>\n\u003cfigure id=\"attachment_12200550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg\" alt=\"An early advertisement for Ampex.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut.jpg 1636w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early advertisement for Ampex. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Ampex would later move to Redwood City, and those who drive along Hwy. 101 can still see the company sign — even though Ampex is no longer, and its archives are \u003ca href=\"http://www.aes.org/aeshc/docs/press.releases/stanford.ampex.museum.mp3.html\" target=\"_blank\" rel=\"noopener noreferrer\">now managed by Stanford\u003c/a>.)\u003c/p>\n\u003cp>Today, if you visit the \u003ca href=\"http://library.stanford.edu/libraries/green/about\" target=\"_blank\" rel=\"noopener noreferrer\">Green Library\u003c/a> on the Stanford campus, you can see the dishwasher-sized device that was the first to go into regular broadcast service in the United States in 1948.\u003c/p>\n\u003cp>Listen to Lowood speaking at length about the \u003ca href=\"https://soundcloud.com/kqed-arts/ampex-full\" target=\"_blank\" rel=\"noopener\">legacy of Ampex\u003c/a>.\u003c/p>\n\u003cp>A former Ampex engineer restored it for display, which explains why, if you were to take it out of its glass case and plug it in, the machine would still play.\u003c/p>\n\u003cp>“I was just floored by the sound of the room being filled with music that was produced by it,” Lowood says. “[It] kind of revises your opinion about this kind of old technology and how it relates to our contemporary audio technologies, with compression and all of the other things that we accept when we listen to music.”\u003c/p>\n\u003cp>While broadcasting networks initially resisted pre-recorded radio shows, other performers, like Bob Hope, were quick to see the obvious benefits. Crosby also gave an Ampex 200A to Les Paul, who went on to develop \u003ca href=\"https://www.youtube.com/watch?v=D4Q1T_2C72g&feature=youtu.be&t=11m18s\" target=\"_blank\" rel=\"noopener noreferrer\">multi-track recording\u003c/a>.\u003c/p>\n\u003ch3>And then there was video\u003c/h3>\n\u003cfigure id=\"attachment_12199381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12199381 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg\" alt=\"The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-960x543.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1950s, Ampex competed against Crosby in the race to produce the first commercially viable video recorder, and Ampex won.\u003c/p>\n\u003cp>Fred Pfost, an Ampex engineer who worked on the project, was interviewed by the Audio Engineering Society in 2000, in which he described demonstrating the technology to CBS executives for the first time.\u003c/p>\n\u003cp>Unbeknownst to them, Pfost recorded a speech delivered by a vice president at the network. Then Pfost rewound the tape and played it back.\u003c/p>\n\u003cp>Choking up at the memory, he recalls, “There was total silence for probably 10 seconds, at which time they realized what was happening… There was clapping and shouting and foot stamping.”\u003c/p>\n\u003cp>That video recording team included Ray Dolby, one of several Ampex employees who went on to start landmark firms; others left to found \u003ca href=\"http://ethw.org/First-Hand:The_Development_of_Pong:_Early_Days_of_Atari_and_the_Video_Game_Industry\" target=\"_blank\" rel=\"noopener noreferrer\">Atari\u003c/a>, \u003ca href=\"http://www.businessinsider.com/rags-to-riches-story-of-larry-ellison-2015-5\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle\u003c/a> and \u003ca href=\"http://www.liquisearch.com/laurence_spitters/memorex\" target=\"_blank\" rel=\"noopener noreferrer\">Memorex\u003c/a>.\u003c/p>\n\u003cp>“So in a way,” Lowood says, “Ampex was not only the first entertainment technology company in Silicon Valley — it was also close to being the first to generate this culture of employees moving on to found other companies.”\u003c/p>\n\u003cp>But the cycle of technology is unstoppable, and after half a century of dominance in American TV, music, and radio studios, Ampex did a slow fade into history.\u003c/p>\n\u003cp>As KQED’s Peter Jon Shuler put it in a story 14 years ago about the \u003ca href=\"http://www.aes.org/aeshc/mp3/stanford.ampex/1-21-02-ampexcollection.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">company’s legacy\u003c/a>, “The digital revolution began to overshadow the technological innovations the firm helped establish.”\u003c/p>\n\u003ch3>Some of us still old enough to remember\u003c/h3>\n\u003cfigure id=\"attachment_12199767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg\" alt=\"Keven Guillory, editing a spot at KRE AM & FM in Berkeley, circa 1973.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut.jpg 959w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keven Guillory, editing a spot at \u003ca href=\"http://bayarearadio.org/schneider/kre.shtml\" target=\"_blank\" rel=\"noopener noreferrer\">KRE AM & FM\u003c/a> in Berkeley, circa 1973. \u003ccite>(Photo: Courtesy of Keven Guillory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ampex era may be over, but nostalgia doesn’t die easy.\u003c/p>\n\u003cp>Until digital editing software took over, radio reporters like yours truly collected razor blade scars all over our fingers, splicing bits of tape to put together stories, not unlike what Bing Crosby’s engineers were doing all the way back in 1948.\u003c/p>\n\u003cp>I have fond memories of the rock and roll of the two reels as I’d search for that pause between words where a splice might happen. I can still mimic the funny whoosh of that first word when I hit the play button, and the garbled chipmunk chatter I heard when pressing rewind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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