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"content": "\u003cp>Italian authorities are investigating the theft of a 17th-century painting from an earthquake-damaged church, one of the first suspected victims of looting from last month’s quakes that have sent officials racing to recover priceless artworks before thieves and the elements get to them.\u003c/p>\n\u003cp>The national police unit charged with protecting cultural treasures said Monday that the 1631 painting “Pardon in Assisi” by French painter Jean Lhomme was stolen from a village church in Nottoria. The work was well-known among historians.\u003c/p>\n\u003cp>The parish priest, the Rev. Marco Rufini, told news agency ANSA that the thieves apparently ignored the risk of the church collapsing on them when they cut the painting from its frame, “adding injury to injury.”\u003c/p>\n\u003cp>The earthquakes on Oct. 26 and Oct. 30 collapsed buildings across a broad swath of a region already reeling from a deadly August quake. One of the iconic images of the devastation is the basilica of St. Benedict of Norcia, built over the birthplace of the patron saint of Europe, where only the facade remains standing.\u003c/p>\n\u003cp>While the main priorities have been tending to the estimated 30,000 people left homeless, authorities have also begun recovering artworks from the more than 182 quake-damaged or destroyed churches in the area, said the archbishop of Norcia and Spoleto, Monsignor Renato Boccardo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These towns have been abandoned, with their churches destroyed, so the risk of theft is very high,” he said.\u003c/p>\n\u003cp>In addition, a powerful storm Sunday night threatened even more damage to artworks exposed to the elements. The mayor of quake-hit Visso, for example, flagged that important frescoes of the Madonna were at risk from the rain and required a helicopter to come in and extract them.\u003c/p>\n\u003cp>The army has moved in anti-looting units to the region, but Boccardo noted that cities like Norcia and nearby Cascia have around 40 tiny hamlets apiece, sparsely spread across mountains. “Whoever wants to go into a home or church can go easily,” he said.\u003c/p>\n\u003cp>While stressing that his primary concern was providing for his flock, he said the damage to the churches had added to their trauma.\u003c/p>\n\u003cp>“The history of this area is expressed in its churches, the witnesses of art, history and faith,” he told reporters in Rome. For the people of the region, he said, the quake represented a “double loss” of both their homes and their churches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All the life of these little hamlets and towns is linked to the churches — the history and development of the towns all took place around them.”\u003c/p>\n\n",
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"content": "\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291254039″ params=”color=ff5500″ width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \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=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The collaboration stirred up controversy, but in the room at the CMA Awards, the performance of Beyoncé's \"Daddy Lessons\" felt like a precise recalibration of pop for a country setting.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\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/291254039″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/291254039″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \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=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "real-estate-heir-durst-in-california-to-face-murder-charge",
"title": "Real Estate Heir Durst in California to Face Murder Charge",
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"content": "\u003cp>New York real estate heir Robert Durst, who became a nationally known name with last year’s HBO documentary \u003cem>The Jinx\u003c/em>, made his long-awaited arrival in California to face charges of killing a friend 16 years ago, authorities said.\u003c/p>\n\u003cp>Durst was being held in a Los Angeles County jail Friday and is scheduled to be arraigned in the case on Monday afternoon, district attorney’s spokeswoman Jane Robison said.\u003c/p>\n\u003cp>Local prosecutors have been eager to bring Durst to California and try him in the killing of his friend Susan Berman in 2000, but prosecutors in New Orleans held him there on federal weapons charges until he pleaded guilty in April. He had already waived extradition to California.\u003c/p>\n\u003cp>Durst’s attorney, Dick DeGuerin, has said Durst is just as eager to come to Los Angeles County and prove his innocence.\u003c/p>\n\u003cp>“We’ve been begging to get to California since two days after he was arrested,” DeGuerin told The Associated Press in September.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Durst, already well-known in New York, became far more famous when HBO aired “The Jinx,” which cast serious suspicion on him for several alleged crimes, including the Berman killing. Durst was arrested the morning the last of the documentary’s six parts was aired in March 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Durst was sentenced to seven years and one month in prison after pleading guilty to the New Orleans weapons charge. He had been serving time in an Indiana federal prison since September.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A federal jury has found that \u003cem>Rolling Stone\u003c/em>, a reporter and the magazine’s publisher are liable in a defamation lawsuit over a 2014 article about an alleged rape at the University of Virginia.\u003c/p>\n\u003cp>The trial centered on an article by reporter Sabrina Rubin Erdely that told the story of a student identified as “Jackie” who said she was brutally gang raped at a fraternity party.\u003c/p>\n\u003cp>But “several outlets, including The Washington Post, identified major inconsistencies in the reporting,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/17/498242065/defamation-trial-over-rolling-stone-rape-allegation-story-to-begin\" target=\"_blank\" rel=\"noopener\">as The Two-Way has reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soon afterward, \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/12/05/368748289/rolling-stone-says-trust-in-gang-rape-accuser-was-misplaced\" target=\"_blank\" rel=\"noopener\">retracted the story\u003c/a>, saying the magazine had relied too much on “Jackie’s” account and did not adequately work to confirm her story.\u003c/p>\n\u003cp>“An investigation found that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/05/397696712/report-on-retracted-rolling-stone-rape-story-cites-systematic-failing\" target=\"_blank\" rel=\"noopener\">repeated, systematic failures\u003c/a> within the magazine led to the article’s publication.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nicole Eramo, a former associate dean of students, sued for $7.85 million over how she was portrayed. As we reported, she “said the article painted her as the ‘chief villain’ of the story, full of indifference toward a sexual assault allegation.”\u003c/p>\n\u003cp>Damages have yet to be assessed. \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=Jury+Finds+%27Rolling+Stone%2C%27+Reporter+Liable+For+Damages+Over+Rape+Allegation+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After being homeless for more than a year, San Francisco’s \u003ca href=\"http://cartoonart.org/about-us/\" target=\"_blank\" rel=\"noopener\">Cartoon Art Museum\u003c/a> has found a new location for its thousands of cartoon and comic book artifacts.\u003c/p>\n\u003cp>This week the museum signed a 10-year lease on a historic, 8,000-square-foot brick building a block away from Ghiradelli Square, and museum staff hope to open its doors to the public by spring of next year. \u003c/p>\n\u003cp>This is the fourth home for the museum, which was founded in 1984. It counts approximately 7,000 pieces in its permanent collection and attracts 30,000 visitors annually. From 2001 to 2015, the museum was located on Mission Street, near the San Francisco Museum of Modern Art, but it vacated the space last June after its rent was doubled. \u003c/p>\n\u003cp>“We had a great landlord when we were at our old place on Mission Street, but the writing was on the wall,” Summerlea Kashar, the museum’s executive director, said. \u003c/p>\n\u003cp>Its massive collection, which includes work from comic artists ranging from Jack Kirby to Daniel Clowes, was locked away in storage while Kashar and the museum’s board searched for a new home in the city. Kashar said the board considered moving out of the region, but after taking into account the diversity of the Bay Area and its historic ties to comics — the birthplace of \u003ci>Mutt and Jeff\u003c/i>; the home of Last Gasp Comics and Pixar; the longtime residence of \u003ci>Peanuts\u003c/i> creator Charles Schulz, who provided a $200,000-endowment to the museum in 1987 — it was decided that the collection needed to stay here. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Should we go somewhere else? Is there somewhere else for us to go? Where else would we consider if there was a place?” Kashar said. “And ultimately it did come down to, we just thought San Francisco was the right place for us to be.”\u003c/p>\n\n",
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"content": "\u003cp>Standup comedian \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> is clearly not a fan of Republican presidential nominee Donald Trump.\u003c/p>\n\u003cp>“I’m not feeling Donald Trump’s outreach to the blacks,” she said during a recent performance at the Uptown, a club in Oakland. Dobbins, who is African-American, went on to riff about Trump’s habit of using race and gender as a weapon to polarize the country.\u003c/p>\n\u003cp>“His pitch to us was, ‘Your education is trash, you don’t have any money, you don’t have any jobs.'” Dobbins said. “He’s like, ‘What have you got to lose?’ I was like, ‘Everything we’ve gained since reconstruction?'”\u003c/p>\n\u003cfigure id=\"attachment_12295098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295098\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-800x534.jpg\" alt=\"Karinda Dobbins doing her standup\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karinda Dobbins doing standup at the Uptown in Oakland. \u003ccite>(Photo: Courtesy of Karinda Dobbins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women comedians both in the Bay Area and around the country have been especially tough on Trump, with his history of demeaning women. A few days after the show, Dobbins talked in her Oakland apartment about how she wants audiences to see Trump as she does: a privileged, white man. Dobbins works for a biotech company, and she says Trump reminds her of the kind of boss or co-worker women put up with all the time.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291352882″ 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>“They asked him about sexual harassment in the workplace and if his daughter — Ivanka Trump — had been sexually harassed, what should she do,” Dobbins said. “And his response was, ‘She should find another job.’ Which is a really weird response considering that his daughter works for him.”\u003c/p>\n\u003cfigure id=\"attachment_12294911\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12294911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-800x639.jpg\" alt=\"Comedian Karinda Dobbins\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-1920x1534.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-520x415.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Karinda Dobbins. \u003ccite>(Photo: Courtesy of Karinda Dobbins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dobbins’ jokes about Trump are as rueful as they are funny. And that goes for other women comics commenting on this year’s election, like \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Comedy is truth and pain,” Noorbaksh said. “And there’s a lot of pain in politics this year.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Noorbaksh\u003c/a> is a second generation Iranian-American from suburban Danville, and co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Good Muslim Bad Muslim\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>“I think probably my comedy this year is more political than it ever has been, because it hits so close to home,” she said during a conversation at the dining room table of her parents’ home. “You have to go vote, because I don’t want to be in an internment camp.”\u003c/p>\n\u003cp>That’s a half-joking reference to Trump’s waffling on whether internment camps for Muslims are a good idea or not.\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-800x495.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast ‘Good Muslim, Bad Muslim’\" width=\"800\" height=\"495\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noorbaksh builds a joke about Trump like a club sandwich, out of the fear and anger she feels toward the Republican nominee. She layers her identification as a Muslim-American with the \u003ca href=\"http://www.npr.org/2016/10/07/497087141/donald-trump-caught-on-tape-making-vulgar-remarks-about-women\" target=\"_blank\" rel=\"noopener\">leaked audio tapes in which Trump bragged that his celebrity gives him license to sexually molest women\u003c/a>, and tops it off with Trump’s comment in the final debate that Clinton is a “\u003ca href=\"http://www.politico.com/story/2016/10/trump-clinton-nasty-woman-debate-230047\" target=\"_blank\" rel=\"noopener\">such a nasty woman\u003c/a>.”\u003c/p>\n\u003cp>“After the first debate, I was like, ‘Okay, now I’m a Muslim Isis informant,'” Noorbaksh said. “After the second debate, I knew that I should hold onto my Muslim Isis-informant pussy. And now I have a nasty Muslim Isis-informant pussy. I feel like everybody found their pussy that day. And held on.”\u003c/p>\n\u003cp>\u003cstrong>Not just Trump\u003c/strong>\u003c/p>\n\u003cp>The Republican nominee is certainly an easy target in the left-leaning Bay Area. But local comedians are also taking Clinton to task.\u003c/p>\n\u003cp>Noorbaksh calls out the Democratic nominee for her assumption that American Muslims have a special responsibility to fight terrorism. “Hillary Clinton also came out with, like, ‘Muslims are on the front lines,'” she said. “Of what? At Starbucks, in line for coffee?”\u003c/p>\n\u003cp>And even in blue, blue San Francisco, there are more laughs than groans when comic \u003ca href=\"http://willdurst.com/\" target=\"_blank\" rel=\"noopener\">Will Durst\u003c/a> talks about Clinton (“a political cyborg”) and the perception that she’s not nice enough. Durst is doing his election-oriented solo show \u003cem>Elect to Laugh\u003c/em> through Nov. 8 at\u003ca href=\"http://themarsh.org/\" target=\"_blank\" rel=\"noopener\"> The Marsh\u003c/a>.\u003c/p>\n\u003cp>“It must have been a bitch growing up Chelsea,” Durst said, imagining life in the Clinton household when daughter Chelsea was a youngster. “‘I’m sorry honey, that looks nothing like a butterfly, and it’s not going on the refrigerator.’”\u003c/p>\n\u003cfigure id=\"attachment_12295297\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg\" alt=\"Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underlying many of these jokes is the fact that both Trump and Democratic nominee Hillary Clinton are the two least popular presidential nominees in history — or at least since polling began.\u003c/p>\n\u003cp>But Durst is sharpest in his takedowns of “creepy clown” Trump. “How do you parody a parody?” Durst said. “It’s like trying to staple smoke. The GOP nominee for president is Donald Trump. That’s the joke!” Durst shouted that last line and slammed the mic stand down on the stage. “The rest is farce.”\u003c/p>\n\u003cp>Durst is a veteran comic. He’s toured \u003cem>Elect to Laugh\u003c/em> around the country in each of the last three presidential campaign cycles. But he is modest about what he can accomplish as a political comedian.\u003c/p>\n\u003cp>“My one goal is to make people laugh out loud on purpose against their will,” Durst said backstage before the show. “What artists can do is plant seeds of doubt.”\u003c/p>\n\u003cp>Durst said he wants to make people reconsider their prejudices, at the very least. Zahra Noorbaksh shares that ideal. “I take it very seriously,” Noorbaksh said of her job as a comedian, “as a person who is there to get us to see what we refuse to see about ourselves.”\u003c/p>\n\u003cp>This suggests that the joke in political comedy is always on us. The United States gets the politicians it votes for and deserves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>Karinda Dobbins co-hosts a show at the New Parkway Theater in Oakland on Friday, Nov. 4. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/1897?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Will Durst’s ‘Elect to Laugh’ runs Friday and Saturday, Nov. 4 and 5, at the Marsh in Berkeley, and on Election Night, Tuesday, Nov. 8, at the Marsh in San Francisco. Details \u003ca href=\"https://themarsh.org/will_durst/will-durst/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Republican Presidential nominee is a prime target for comedians this year, but his Democratic rival doesn't get off lightly either — even in the blue, blue Bay Area.",
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"title": "Bay Area Comics Take Both Donald Trump and Hillary Clinton To Task | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Standup comedian \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> is clearly not a fan of Republican presidential nominee Donald Trump.\u003c/p>\n\u003cp>“I’m not feeling Donald Trump’s outreach to the blacks,” she said during a recent performance at the Uptown, a club in Oakland. Dobbins, who is African-American, went on to riff about Trump’s habit of using race and gender as a weapon to polarize the country.\u003c/p>\n\u003cp>“His pitch to us was, ‘Your education is trash, you don’t have any money, you don’t have any jobs.'” Dobbins said. “He’s like, ‘What have you got to lose?’ I was like, ‘Everything we’ve gained since reconstruction?'”\u003c/p>\n\u003cfigure id=\"attachment_12295098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295098\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-800x534.jpg\" alt=\"Karinda Dobbins doing her standup\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karinda Dobbins doing standup at the Uptown in Oakland. \u003ccite>(Photo: Courtesy of Karinda Dobbins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women comedians both in the Bay Area and around the country have been especially tough on Trump, with his history of demeaning women. A few days after the show, Dobbins talked in her Oakland apartment about how she wants audiences to see Trump as she does: a privileged, white man. Dobbins works for a biotech company, and she says Trump reminds her of the kind of boss or co-worker women put up with all the time.\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/291352882″&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/291352882″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“They asked him about sexual harassment in the workplace and if his daughter — Ivanka Trump — had been sexually harassed, what should she do,” Dobbins said. “And his response was, ‘She should find another job.’ Which is a really weird response considering that his daughter works for him.”\u003c/p>\n\u003cfigure id=\"attachment_12294911\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12294911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-800x639.jpg\" alt=\"Comedian Karinda Dobbins\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-1920x1534.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Karinda-Dobbins-3-e1478201022602-520x415.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Karinda Dobbins. \u003ccite>(Photo: Courtesy of Karinda Dobbins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dobbins’ jokes about Trump are as rueful as they are funny. And that goes for other women comics commenting on this year’s election, like \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Comedy is truth and pain,” Noorbaksh said. “And there’s a lot of pain in politics this year.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Noorbaksh\u003c/a> is a second generation Iranian-American from suburban Danville, and co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Good Muslim Bad Muslim\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>“I think probably my comedy this year is more political than it ever has been, because it hits so close to home,” she said during a conversation at the dining room table of her parents’ home. “You have to go vote, because I don’t want to be in an internment camp.”\u003c/p>\n\u003cp>That’s a half-joking reference to Trump’s waffling on whether internment camps for Muslims are a good idea or not.\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-800x495.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast ‘Good Muslim, Bad Muslim’\" width=\"800\" height=\"495\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noorbaksh builds a joke about Trump like a club sandwich, out of the fear and anger she feels toward the Republican nominee. She layers her identification as a Muslim-American with the \u003ca href=\"http://www.npr.org/2016/10/07/497087141/donald-trump-caught-on-tape-making-vulgar-remarks-about-women\" target=\"_blank\" rel=\"noopener\">leaked audio tapes in which Trump bragged that his celebrity gives him license to sexually molest women\u003c/a>, and tops it off with Trump’s comment in the final debate that Clinton is a “\u003ca href=\"http://www.politico.com/story/2016/10/trump-clinton-nasty-woman-debate-230047\" target=\"_blank\" rel=\"noopener\">such a nasty woman\u003c/a>.”\u003c/p>\n\u003cp>“After the first debate, I was like, ‘Okay, now I’m a Muslim Isis informant,'” Noorbaksh said. “After the second debate, I knew that I should hold onto my Muslim Isis-informant pussy. And now I have a nasty Muslim Isis-informant pussy. I feel like everybody found their pussy that day. And held on.”\u003c/p>\n\u003cp>\u003cstrong>Not just Trump\u003c/strong>\u003c/p>\n\u003cp>The Republican nominee is certainly an easy target in the left-leaning Bay Area. But local comedians are also taking Clinton to task.\u003c/p>\n\u003cp>Noorbaksh calls out the Democratic nominee for her assumption that American Muslims have a special responsibility to fight terrorism. “Hillary Clinton also came out with, like, ‘Muslims are on the front lines,'” she said. “Of what? At Starbucks, in line for coffee?”\u003c/p>\n\u003cp>And even in blue, blue San Francisco, there are more laughs than groans when comic \u003ca href=\"http://willdurst.com/\" target=\"_blank\" rel=\"noopener\">Will Durst\u003c/a> talks about Clinton (“a political cyborg”) and the perception that she’s not nice enough. Durst is doing his election-oriented solo show \u003cem>Elect to Laugh\u003c/em> through Nov. 8 at\u003ca href=\"http://themarsh.org/\" target=\"_blank\" rel=\"noopener\"> The Marsh\u003c/a>.\u003c/p>\n\u003cp>“It must have been a bitch growing up Chelsea,” Durst said, imagining life in the Clinton household when daughter Chelsea was a youngster. “‘I’m sorry honey, that looks nothing like a butterfly, and it’s not going on the refrigerator.’”\u003c/p>\n\u003cfigure id=\"attachment_12295297\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg\" alt=\"Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underlying many of these jokes is the fact that both Trump and Democratic nominee Hillary Clinton are the two least popular presidential nominees in history — or at least since polling began.\u003c/p>\n\u003cp>But Durst is sharpest in his takedowns of “creepy clown” Trump. “How do you parody a parody?” Durst said. “It’s like trying to staple smoke. The GOP nominee for president is Donald Trump. That’s the joke!” Durst shouted that last line and slammed the mic stand down on the stage. “The rest is farce.”\u003c/p>\n\u003cp>Durst is a veteran comic. He’s toured \u003cem>Elect to Laugh\u003c/em> around the country in each of the last three presidential campaign cycles. But he is modest about what he can accomplish as a political comedian.\u003c/p>\n\u003cp>“My one goal is to make people laugh out loud on purpose against their will,” Durst said backstage before the show. “What artists can do is plant seeds of doubt.”\u003c/p>\n\u003cp>Durst said he wants to make people reconsider their prejudices, at the very least. Zahra Noorbaksh shares that ideal. “I take it very seriously,” Noorbaksh said of her job as a comedian, “as a person who is there to get us to see what we refuse to see about ourselves.”\u003c/p>\n\u003cp>This suggests that the joke in political comedy is always on us. The United States gets the politicians it votes for and deserves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>Karinda Dobbins co-hosts a show at the New Parkway Theater in Oakland on Friday, Nov. 4. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/1897?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Will Durst’s ‘Elect to Laugh’ runs Friday and Saturday, Nov. 4 and 5, at the Marsh in Berkeley, and on Election Night, Tuesday, Nov. 8, at the Marsh in San Francisco. Details \u003ca href=\"https://themarsh.org/will_durst/will-durst/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Negativland Gives Definitive Interview on 'The Chopping Channel'",
"headTitle": "Negativland Gives Definitive Interview on ‘The Chopping Channel’ | KQED",
"content": "\u003cp>Late last month, the Concord-born experimental band Negativland released a new album, \u003ci>\u003ca href=\"http://boingboing.net/2016/10/17/negativlands-next-album-come.html\" target=\"_blank\" rel=\"noopener\">The Chopping Channel\u003c/a>.\u003c/i> Included in its packaging were artifacts from the band’s history, such as some of their loop cartridges or “\u003ca href=\"http://www.jimprice.com/prosound/carts.htm\" target=\"_blank\" rel=\"noopener\">carts\u003c/a>,” and, more notably, a few ounces of crematory ashes from Don Joyce, the long time Negativland member who died last July. \u003c/p>\n\u003cp>Their morbid packaging became a viral story on the internet, covered by Pitchfork, \u003cem>NME\u003c/em>, the AV Club and even NPR. Over 500 articles were published online. But if the members of Negativland are to be believed, only two reporters asked to listen to the album. (I was one of them.)\u003c/p>\n\u003cp>Good arts journalism dictates that reporters should make themselves familiar with the art they are reporting on, so it’s disappointing that so few made the effort. If they had, they would’ve been treated to a display of sampling virtuosity by masters of the form, set against a recurring Monty Python-flavored sketch skewering shopping-channel consumerism. \u003c/p>\n\u003cfigure id=\"attachment_12291842\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1020x1020.jpg\" alt='Picture of \"Bud Choke\"' width=\"640\" height=\"640\" class=\"size-large wp-image-12291842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Joyce as “Bud Choke.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Negativland has always favored sly subversion over preaching, and instead of smashing the listener over the head with “consumerism is bad,” \u003cem>The Chopping Channel\u003c/em> delivers graceful uppercuts of comedic timing and black humor. One of the album’s running gags is “Man of the World,” a character who, by his accent, is clearly “of the world” — but emerges as a greedy, chakra-hustling guru from Sausalito. As a comment on the dismal economic state of music, “Bud Choke,” the disembodied voice of Joyce, repeatedly informs the listener that “music has never been cheaper.” As for the songs, they’re reminiscent of Chrome, hometown heroes of psychedelic punk, at their weirdest.\u003c/p>\n\u003cp>When the band sent the answers to my questions this week, they informed me that this would be the “definitive” interview for this album. Presumably this means no outlet has asked about \u003cem>The Chopping Channel\u003c/em> in such detail, so here it is, uncut. (Okay, two questions were cut, but that’s because the questions were dumb.)\u003c/p>\n\u003cfigure id=\"attachment_12291840\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1020x1360.jpg\" alt=\"Package of Don Joyce's ashes\" width=\"640\" height=\"853\" class=\"size-large wp-image-12291840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Package of Don Joyce’s ashes. \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is including the ashes of Don in the album’s package the most morbid prank you’ve ever pulled?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s actually not a prank at all, though we were well aware that we’d have to make sure people knew it wasn’t a hoax. A “prank” is a trick, but putting Don into the CD is not a trick: indeed, a CD buyer doesn’t automatically receive the ashes gift without specifically ordering from our website, which clearly explains what you get. For those folks purchasing through other streams of commerce, there’s a note inside of the CD itself saying they have to write to ask for it. Which we will send out to you, for free.\u003c/p>\n\u003cp>It was a leap of faith that committed fans would recognize this as the gift that it is, and treat the reality of it with a bit of respect. Of course, we also realized the sensational aspects of this kind of limited edition, and weren’t surprised that it went viral on some outlets that chose to emphasize it as a morbid bit of morning news banter (and just what exactly does one do with the ashes of a person whose creativity you have enjoyed, but whom you have never even met?).\u003c/p>\n\u003cp>The entire gesture is also tied to the content of the album, which imagines a shopping network where everything and anything can be productized and offered up for sale, including things made from human remains and bodily fluids. So why not add Don into the mix? It was too perfect of a gesture for us not to do it, as this was already slated to be our next release at the time of his death. It quickly took on new significance to us as a tribute to Don and his oft-stated commitment to art as his entire life’s purpose. He once spoke casually of committing suicide if the \u003cem>Over the Edge\u003c/em> radio show were ever canceled! He prioritized his art over sleep, health, a social life, and family; he was his work. So it made sense to transform it into a kind of memorial release, have it literally be Don, and, if our idea worked, bits of him would eventually be in the care of over 1,000 different people, literally all over of the world. It would be taking our 37 years of re-use/re-purposing ethic and aesthetic about as far as we could possibly imagine going with it.\u003c/p>\n\u003cp>It’s worth mentioning that Don was once on board with the idea of selling his teeth as a release on our web site, including the gold crowns, after he had a full-mouth extraction. It never happened, though, because he spontaneously just threw them out instead!\u003c/p>\n\u003cfigure id=\"attachment_12291846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg\" alt=\"Cover for 'The Chopping Channel'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12291846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER-.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for ‘The Chopping Channel.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the concept behind this album? \u003c/strong>\u003c/p>\n\u003cp>In the late ’90s, “The Chopping Channel” became a recurring theme on our weekly \u003cem>Over The Edge\u003c/em> radio program, a framework in which we could collaborate with fellow sampling artists (People Like Us, Yasuhiro Otani, Thomas Dimuzio and others) in the guise of a 24-hour-a-day shopping network, selling music by the second, atomized into easy-to-use fragmented streams; “More Music in Less Time.” The project was even performed in concert a few times. It took on a new dimension when we brought in longtime collaborator Mark Gergis (a.k.a. Porest), whose autodidactic ethnomusicology with the \u003ca href=\"http://www.sublimefrequencies.com/\" target=\"_blank\" rel=\"noopener\">Sublime Frequencies\u003c/a> label naturally led us to a new character: The Man From The World, an authentic foreigner from everywhere, here to sell you products extracted from the very soul of the world. His charisma and invaluable credibility forced us into uncharted territory, selling much more than just music — who would like to buy an hour of their own life? Or invest in ethnic prosthetics? Order now, and find out how.\u003c/p>\n\u003cp>\u003cstrong>What made you want to take on consumerism?\u003c/strong>\u003c/p>\n\u003cp>That’s a theme that we have been dealing with in our work since our \u003ca href=\"https://www.youtube.com/watch?v=DV08nrktjlI\" target=\"_blank\" rel=\"noopener\">very first LP\u003c/a>. But as they keep upping the ante in selling our own immaterial experiences and beliefs back to ourselves, we have to keep pace. While we hope it’s “funny” in a sort of Dada way to listen to, we hope that by the end of \u003cem>The Chopping Channel\u003c/em> a larger view is evoked about the utter insanity of the unsustainable socio-economic system that we all find ourselves trapped in. You are the product!\u003c/p>\n\u003cfigure id=\"attachment_12291841\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1020x876.jpg\" alt=\"One of Joyce's "carts" used on his radio show, 'Over The Edge'\" width=\"640\" height=\"550\" class=\"size-large wp-image-12291841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-768x660.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1180x1013.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-960x825.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-520x447.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">One of Joyce’s “carts” used on his radio show, ‘Over The Edge.’ \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Will using cart machines become a lost art now that Don is gone?\u003c/strong>\u003c/p>\n\u003cp>Considering that he was, as far as we know, the only true artisan of the creative use of the long-dead technology of the tape cart machine as a layering and collaging tool, as opposed to just a delivery system for linear advertising, the art form may have died with him. If someone wants to pick up the baton, they should go for it; the gestures of juggling carts are a lot more fun than clicking and loading files. The inclusion of one of Don’s tape carts is as integral to the packaging as the ashes — those were his tools.\u003c/p>\n\u003cp>One of the most moving and emotionally satisfying parts of this project has been watching people post photographs of their cart as they receive it — closeups of Don’s handwriting on each label, indicating loops or cut-ups that were extremely well known to long time fans of the radio show. If you check out the release we did before this one, \u003cem>It’s All In Your Head\u003c/em>, you can hear great examples of the kind of real-time cut-ups Don was able to do with those cart machines, as that project was also created almost entirely from live performances.\u003c/p>\n\u003cp>\u003cstrong>What are some ideas Don brought to the table specifically for this album?\u003c/strong> \u003c/p>\n\u003cp>Most of the early shows were punctuated by Don’s monologues as Bud Choke; rants about usable music, shorn down to easily controllable granules that better suit our fast-paced lifestyles. Save time by throwing away all the parts of the music you no longer need! Don’s monologues on this subject are threaded throughout the album, and he used all three limbs to inject hundreds of microsamples into the mix, surfacing every once in a while long enough to yell, “I don’t know what these other guys are selling, but I’m selling music!” He was totally a part of creating the final CD edit and wrote liner notes in character as Bud. Don also happens to be very much a part of our current live stage show, even though he’s dead! We saw no reason to let that get in the way.\u003c/p>\n\u003cp>\u003cstrong>How much work went into doing the live radio shows?\u003c/strong>\u003c/p>\n\u003cp>Narrative ideas and potential products were determined in advance, but when broadcast time arrived, improvisation ruled. As when you go on vacation: only book a hotel for the first night, and don’t plan the rest in advance. Having said that, this album has more layering and editing of the original broadcasts than any of our \u003cem>Over the Edge\u003c/em> albums up to this point.\u003c/p>\n\u003cfigure id=\"attachment_12291844\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1020x1041.jpg\" alt='\"The Man From The World\"' width=\"640\" height=\"653\" class=\"size-large wp-image-12291844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1020x1041.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-768x784.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1180x1204.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-960x980.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-64x64.jpg 64w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Man From The World.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What has this recent media blitz showed you? How many outlets have asked to listen to the new record?\u003c/strong>\u003c/p>\n\u003cp>Some things have changed, but at heart it is still media about media about media. Only now the cycles are instantaneous. Instead of mailing out a press release, the blog \u003cem>Boing Boing\u003c/em> invited us to make a slightly more informal guest post, which we mirrored on our Facebook page. Twenty-four hours later, an explosion of coverage appeared, lightly re-authoring our post. Almost no one contacted us for a comment or primary quote, virtually no one asked to hear the record, and no one was trying to find out if our announcement that this was not a hoax was itself a hoax — no time! It was fascinating to watch our casual Facebook posts and replies to fan comments become sources for certain reporters looking for more copy. We’re lucky those comments were chosen in a way that seemed sympathetic to the concept, because those quotes carried far. \u003c/p>\n\u003cp>Almost 30 years ago our \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">Helter Stupid\u003c/a>\u003c/em> prank illustrated just how vulnerable the media is to reporting outright hoaxes as facts, and how media coverage in and of itself tends to authenticate a “story” as a truth. On one level, the lessons of that prank now seem hilariously old-fashioned and trite: no one trusts the mainstream media anymore. An updated prank would illustrate how there is no dividing line between traditional media and the social media we now use to source our reality; we are even more vulnerable to confusing beliefs and facts when they are voiced by trusted online friends. \u003c/p>\n\u003cp>\u003cstrong>What has the media blown out of proportion or reported incorrectly?\u003c/strong>\u003c/p>\n\u003cp>As it went on, some upped the morbidity or sensationalism. One headline changed ‘ashes’ to ‘charred human remains’ — a far more clickable headline, prompting a very different emotional reaction to our memorial to Don. We weren’t surprised.\u003c/p>\n\u003cp>\u003cstrong>Have you sold a bunch of records because of the attention surrounding Don’s ashes?\u003c/strong>\u003c/p>\n\u003cp>It turns out that 1/4 teaspoon servings of Don go a lot further than we originally thought, so we were able to make 1000 stickered packets of him. That limited edition has been disappearing pretty quickly to the core group of people who follow the group. It’s certainly possible the publicity might bring curious listeners to Spotify, or YouTube.\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland in 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So we know that re-contextualization is a big part of your work. Is this album an example of you re-contextualizing your own recordings?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s certainly an example of re-contextualizing one of our own members! But the album audio itself is pretty much all new. As it has been coming on four decades of work, recently some old songs have found their way into our live concerts. It’s physically impossible to play them the same way we once did, and it appeals to us to mess them all up, so they end up sounding pretty different. It is admittedly fun to hear the audience cheer five seconds into a track once they recognize an opening sample. Give up!\u003c/p>\n\u003cp>\u003cstrong>Will a release come out of \u003cem>Beyond Over the Edge?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Some recent episodes of the post-Don \u003cem>Over The Edge\u003c/em> have basically been trial runs for sections of the next album in progress, which is still taking shape. Some bands break new material in on the road; we break the new material in on the air!\u003c/p>\n\u003cp>\u003cstrong>Have you gotten any good material from this election?\u003c/strong>\u003c/p>\n\u003cp>It’s already an artwork, or at least a narrative — it doesn’t need us. But we do love what \u003ca href=\"http://www.vdb.org/artists/bryan-boyce\" target=\"_blank\" rel=\"noopener\">Bryan Boyce\u003c/a> just made about it, which nearly seems to have made itself: \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEDuCvZIr4\u003c/p>\n\u003cp>\u003cstrong>Finally, what do you have against Sausalito?\u003c/strong>\u003c/p>\n\u003cp>We love houseboats, we are followers of Roy Harrison Kesketh and his spiritual practice there, we love ignoring alien orders. How could we not love Sausalito?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "When Negativland included the cremated ashes of band member Don Joyce in its new album, the story went viral — but nearly all coverage overlooked the album's subversive brilliance.",
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"description": "When Negativland included the cremated ashes of band member Don Joyce in its new album, the story went viral — but nearly all coverage overlooked the album's subversive brilliance.",
"title": "Negativland Gives Definitive Interview on 'The Chopping Channel' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late last month, the Concord-born experimental band Negativland released a new album, \u003ci>\u003ca href=\"http://boingboing.net/2016/10/17/negativlands-next-album-come.html\" target=\"_blank\" rel=\"noopener\">The Chopping Channel\u003c/a>.\u003c/i> Included in its packaging were artifacts from the band’s history, such as some of their loop cartridges or “\u003ca href=\"http://www.jimprice.com/prosound/carts.htm\" target=\"_blank\" rel=\"noopener\">carts\u003c/a>,” and, more notably, a few ounces of crematory ashes from Don Joyce, the long time Negativland member who died last July. \u003c/p>\n\u003cp>Their morbid packaging became a viral story on the internet, covered by Pitchfork, \u003cem>NME\u003c/em>, the AV Club and even NPR. Over 500 articles were published online. But if the members of Negativland are to be believed, only two reporters asked to listen to the album. (I was one of them.)\u003c/p>\n\u003cp>Good arts journalism dictates that reporters should make themselves familiar with the art they are reporting on, so it’s disappointing that so few made the effort. If they had, they would’ve been treated to a display of sampling virtuosity by masters of the form, set against a recurring Monty Python-flavored sketch skewering shopping-channel consumerism. \u003c/p>\n\u003cfigure id=\"attachment_12291842\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1020x1020.jpg\" alt='Picture of \"Bud Choke\"' width=\"640\" height=\"640\" class=\"size-large wp-image-12291842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Joyce as “Bud Choke.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Negativland has always favored sly subversion over preaching, and instead of smashing the listener over the head with “consumerism is bad,” \u003cem>The Chopping Channel\u003c/em> delivers graceful uppercuts of comedic timing and black humor. One of the album’s running gags is “Man of the World,” a character who, by his accent, is clearly “of the world” — but emerges as a greedy, chakra-hustling guru from Sausalito. As a comment on the dismal economic state of music, “Bud Choke,” the disembodied voice of Joyce, repeatedly informs the listener that “music has never been cheaper.” As for the songs, they’re reminiscent of Chrome, hometown heroes of psychedelic punk, at their weirdest.\u003c/p>\n\u003cp>When the band sent the answers to my questions this week, they informed me that this would be the “definitive” interview for this album. Presumably this means no outlet has asked about \u003cem>The Chopping Channel\u003c/em> in such detail, so here it is, uncut. (Okay, two questions were cut, but that’s because the questions were dumb.)\u003c/p>\n\u003cfigure id=\"attachment_12291840\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1020x1360.jpg\" alt=\"Package of Don Joyce's ashes\" width=\"640\" height=\"853\" class=\"size-large wp-image-12291840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Package of Don Joyce’s ashes. \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is including the ashes of Don in the album’s package the most morbid prank you’ve ever pulled?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s actually not a prank at all, though we were well aware that we’d have to make sure people knew it wasn’t a hoax. A “prank” is a trick, but putting Don into the CD is not a trick: indeed, a CD buyer doesn’t automatically receive the ashes gift without specifically ordering from our website, which clearly explains what you get. For those folks purchasing through other streams of commerce, there’s a note inside of the CD itself saying they have to write to ask for it. Which we will send out to you, for free.\u003c/p>\n\u003cp>It was a leap of faith that committed fans would recognize this as the gift that it is, and treat the reality of it with a bit of respect. Of course, we also realized the sensational aspects of this kind of limited edition, and weren’t surprised that it went viral on some outlets that chose to emphasize it as a morbid bit of morning news banter (and just what exactly does one do with the ashes of a person whose creativity you have enjoyed, but whom you have never even met?).\u003c/p>\n\u003cp>The entire gesture is also tied to the content of the album, which imagines a shopping network where everything and anything can be productized and offered up for sale, including things made from human remains and bodily fluids. So why not add Don into the mix? It was too perfect of a gesture for us not to do it, as this was already slated to be our next release at the time of his death. It quickly took on new significance to us as a tribute to Don and his oft-stated commitment to art as his entire life’s purpose. He once spoke casually of committing suicide if the \u003cem>Over the Edge\u003c/em> radio show were ever canceled! He prioritized his art over sleep, health, a social life, and family; he was his work. So it made sense to transform it into a kind of memorial release, have it literally be Don, and, if our idea worked, bits of him would eventually be in the care of over 1,000 different people, literally all over of the world. It would be taking our 37 years of re-use/re-purposing ethic and aesthetic about as far as we could possibly imagine going with it.\u003c/p>\n\u003cp>It’s worth mentioning that Don was once on board with the idea of selling his teeth as a release on our web site, including the gold crowns, after he had a full-mouth extraction. It never happened, though, because he spontaneously just threw them out instead!\u003c/p>\n\u003cfigure id=\"attachment_12291846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg\" alt=\"Cover for 'The Chopping Channel'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12291846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER-.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for ‘The Chopping Channel.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the concept behind this album? \u003c/strong>\u003c/p>\n\u003cp>In the late ’90s, “The Chopping Channel” became a recurring theme on our weekly \u003cem>Over The Edge\u003c/em> radio program, a framework in which we could collaborate with fellow sampling artists (People Like Us, Yasuhiro Otani, Thomas Dimuzio and others) in the guise of a 24-hour-a-day shopping network, selling music by the second, atomized into easy-to-use fragmented streams; “More Music in Less Time.” The project was even performed in concert a few times. It took on a new dimension when we brought in longtime collaborator Mark Gergis (a.k.a. Porest), whose autodidactic ethnomusicology with the \u003ca href=\"http://www.sublimefrequencies.com/\" target=\"_blank\" rel=\"noopener\">Sublime Frequencies\u003c/a> label naturally led us to a new character: The Man From The World, an authentic foreigner from everywhere, here to sell you products extracted from the very soul of the world. His charisma and invaluable credibility forced us into uncharted territory, selling much more than just music — who would like to buy an hour of their own life? Or invest in ethnic prosthetics? Order now, and find out how.\u003c/p>\n\u003cp>\u003cstrong>What made you want to take on consumerism?\u003c/strong>\u003c/p>\n\u003cp>That’s a theme that we have been dealing with in our work since our \u003ca href=\"https://www.youtube.com/watch?v=DV08nrktjlI\" target=\"_blank\" rel=\"noopener\">very first LP\u003c/a>. But as they keep upping the ante in selling our own immaterial experiences and beliefs back to ourselves, we have to keep pace. While we hope it’s “funny” in a sort of Dada way to listen to, we hope that by the end of \u003cem>The Chopping Channel\u003c/em> a larger view is evoked about the utter insanity of the unsustainable socio-economic system that we all find ourselves trapped in. You are the product!\u003c/p>\n\u003cfigure id=\"attachment_12291841\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1020x876.jpg\" alt=\"One of Joyce's "carts" used on his radio show, 'Over The Edge'\" width=\"640\" height=\"550\" class=\"size-large wp-image-12291841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-768x660.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1180x1013.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-960x825.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-520x447.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">One of Joyce’s “carts” used on his radio show, ‘Over The Edge.’ \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Will using cart machines become a lost art now that Don is gone?\u003c/strong>\u003c/p>\n\u003cp>Considering that he was, as far as we know, the only true artisan of the creative use of the long-dead technology of the tape cart machine as a layering and collaging tool, as opposed to just a delivery system for linear advertising, the art form may have died with him. If someone wants to pick up the baton, they should go for it; the gestures of juggling carts are a lot more fun than clicking and loading files. The inclusion of one of Don’s tape carts is as integral to the packaging as the ashes — those were his tools.\u003c/p>\n\u003cp>One of the most moving and emotionally satisfying parts of this project has been watching people post photographs of their cart as they receive it — closeups of Don’s handwriting on each label, indicating loops or cut-ups that were extremely well known to long time fans of the radio show. If you check out the release we did before this one, \u003cem>It’s All In Your Head\u003c/em>, you can hear great examples of the kind of real-time cut-ups Don was able to do with those cart machines, as that project was also created almost entirely from live performances.\u003c/p>\n\u003cp>\u003cstrong>What are some ideas Don brought to the table specifically for this album?\u003c/strong> \u003c/p>\n\u003cp>Most of the early shows were punctuated by Don’s monologues as Bud Choke; rants about usable music, shorn down to easily controllable granules that better suit our fast-paced lifestyles. Save time by throwing away all the parts of the music you no longer need! Don’s monologues on this subject are threaded throughout the album, and he used all three limbs to inject hundreds of microsamples into the mix, surfacing every once in a while long enough to yell, “I don’t know what these other guys are selling, but I’m selling music!” He was totally a part of creating the final CD edit and wrote liner notes in character as Bud. Don also happens to be very much a part of our current live stage show, even though he’s dead! We saw no reason to let that get in the way.\u003c/p>\n\u003cp>\u003cstrong>How much work went into doing the live radio shows?\u003c/strong>\u003c/p>\n\u003cp>Narrative ideas and potential products were determined in advance, but when broadcast time arrived, improvisation ruled. As when you go on vacation: only book a hotel for the first night, and don’t plan the rest in advance. Having said that, this album has more layering and editing of the original broadcasts than any of our \u003cem>Over the Edge\u003c/em> albums up to this point.\u003c/p>\n\u003cfigure id=\"attachment_12291844\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1020x1041.jpg\" alt='\"The Man From The World\"' width=\"640\" height=\"653\" class=\"size-large wp-image-12291844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1020x1041.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-768x784.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1180x1204.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-960x980.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-64x64.jpg 64w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Man From The World.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What has this recent media blitz showed you? How many outlets have asked to listen to the new record?\u003c/strong>\u003c/p>\n\u003cp>Some things have changed, but at heart it is still media about media about media. Only now the cycles are instantaneous. Instead of mailing out a press release, the blog \u003cem>Boing Boing\u003c/em> invited us to make a slightly more informal guest post, which we mirrored on our Facebook page. Twenty-four hours later, an explosion of coverage appeared, lightly re-authoring our post. Almost no one contacted us for a comment or primary quote, virtually no one asked to hear the record, and no one was trying to find out if our announcement that this was not a hoax was itself a hoax — no time! It was fascinating to watch our casual Facebook posts and replies to fan comments become sources for certain reporters looking for more copy. We’re lucky those comments were chosen in a way that seemed sympathetic to the concept, because those quotes carried far. \u003c/p>\n\u003cp>Almost 30 years ago our \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">Helter Stupid\u003c/a>\u003c/em> prank illustrated just how vulnerable the media is to reporting outright hoaxes as facts, and how media coverage in and of itself tends to authenticate a “story” as a truth. On one level, the lessons of that prank now seem hilariously old-fashioned and trite: no one trusts the mainstream media anymore. An updated prank would illustrate how there is no dividing line between traditional media and the social media we now use to source our reality; we are even more vulnerable to confusing beliefs and facts when they are voiced by trusted online friends. \u003c/p>\n\u003cp>\u003cstrong>What has the media blown out of proportion or reported incorrectly?\u003c/strong>\u003c/p>\n\u003cp>As it went on, some upped the morbidity or sensationalism. One headline changed ‘ashes’ to ‘charred human remains’ — a far more clickable headline, prompting a very different emotional reaction to our memorial to Don. We weren’t surprised.\u003c/p>\n\u003cp>\u003cstrong>Have you sold a bunch of records because of the attention surrounding Don’s ashes?\u003c/strong>\u003c/p>\n\u003cp>It turns out that 1/4 teaspoon servings of Don go a lot further than we originally thought, so we were able to make 1000 stickered packets of him. That limited edition has been disappearing pretty quickly to the core group of people who follow the group. It’s certainly possible the publicity might bring curious listeners to Spotify, or YouTube.\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland in 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So we know that re-contextualization is a big part of your work. Is this album an example of you re-contextualizing your own recordings?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s certainly an example of re-contextualizing one of our own members! But the album audio itself is pretty much all new. As it has been coming on four decades of work, recently some old songs have found their way into our live concerts. It’s physically impossible to play them the same way we once did, and it appeals to us to mess them all up, so they end up sounding pretty different. It is admittedly fun to hear the audience cheer five seconds into a track once they recognize an opening sample. Give up!\u003c/p>\n\u003cp>\u003cstrong>Will a release come out of \u003cem>Beyond Over the Edge?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Some recent episodes of the post-Don \u003cem>Over The Edge\u003c/em> have basically been trial runs for sections of the next album in progress, which is still taking shape. Some bands break new material in on the road; we break the new material in on the air!\u003c/p>\n\u003cp>\u003cstrong>Have you gotten any good material from this election?\u003c/strong>\u003c/p>\n\u003cp>It’s already an artwork, or at least a narrative — it doesn’t need us. But we do love what \u003ca href=\"http://www.vdb.org/artists/bryan-boyce\" target=\"_blank\" rel=\"noopener\">Bryan Boyce\u003c/a> just made about it, which nearly seems to have made itself: \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/OgEDuCvZIr4'\n title='//www.youtube.com/embed/OgEDuCvZIr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Finally, what do you have against Sausalito?\u003c/strong>\u003c/p>\n\u003cp>We love houseboats, we are followers of Roy Harrison Kesketh and his spiritual practice there, we love ignoring alien orders. How could we not love Sausalito?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Too Many California Ballot Measures? Just Explain Them in Song",
"title": "Too Many California Ballot Measures? Just Explain Them in Song",
"headTitle": "Election 2016 | The California Report | KQED News",
"content": "\u003cp>Americans will decide more than 150 state ballot measures on Tuesday — up slightly from two years ago. That puts a lot of pressure on voters to study up on everything from marijuana legalization to gun control to the death penalty.\u003c/p>\n\u003cp>Californians in particular have a lot of homework to do. With 17 measures, their state has the longest ballot in the country this year. On top of that, there are 650 local measures around the state to decide on.\u003c/p>\n\u003cp>Voters are coming up with some creative ways to keep track of it all — like resident Deborah Barron, who had a \"Proposition Party\" at her home in San Francisco's Mission District.\u003c/p>\n\u003cp>Like any good host, she had snacks and drinks ready. But she also had hand-outs for the 17 state ballot measures and for the 25 local measures facing San Francisco voters.\u003c/p>\n\u003cfigure id=\"attachment_11157987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11157987\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg\" alt=\"Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d.jpg 1596w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District. \u003ccite>(Ben Adler/Capital Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The half-dozen adults at her house divvied up the prep work and took turns leading the discussion – starting with Proposition 51, the $9 billion statewide school bond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I mean, I don't know,\" says Barron, a 43-year-old attorney in private practice. \"Normally, I am 'Yes' on education ones, but...\"\u003c/p>\n\u003cp>\"I'm kind of 'No' on this too,\" chimes in 43-year-old Eric Quandt of Berkeley, who works in the San Francisco Public Defender's office.\u003c/p>\n\u003cp>\"That's how I feel,\" adds Jane Ivory Ernstthal. \"But I feel so wrong!\"\u003c/p>\n\u003cp>The group laughs. \"Are you voting against the education of our youth?\" Barron quips.\u003c/p>\n\u003cp>But party-goers quickly get frustrated.\u003c/p>\n\u003cp>\"Everybody's got college educations. All of us work in things that are impacted by this,\" Barron says. \"Numerous of us are attorneys, who read law for a living. And we still can't figure out how to vote.\"\u003c/p>\n\u003cp>And if it's this hard for people who've been voting for years, imagine what it's like for first-time voters. Carlos Hurtado, a junior at the University of California, Davis, is feeling the pressure.\u003c/p>\n\u003cp>\"It's just a lot, a lot to deal with,\" Hurtado says. \"I gotta take some time on the weekend to look over everything.\"\u003c/p>\n\u003cp>Asked if he planned to vote on all of the ballot measures, Hurtado replies: \"The ones that I feel strongly about.\"\u003c/p>\n\u003cp>\"I'll probably just scan it, see what interests me,\" says Julietta Zuvia, another student at UC-Davis.\u003c/p>\n\u003cp>It's a strategy that might make some long-time voters cringe, but not Kim Alexander with the California Voter Foundation.\u003c/p>\n\u003cp>\"I worry that people look at these 17 propositions and mistakenly think they have to vote on every single one of them – which they don't,\" Alexander says.\u003c/p>\n\u003cp>She says it's far better to leave something blank than to do what voters typically do, which is vote 'No.'\u003c/p>\n\u003cp>For voters who are overwhelmed by all those ballot measures, Alexander offers a California election tradition from her and her colleagues – the Proposition Song. She contributes on vocals and ukelele.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yizO7L2J7LU\u003c/p>\n\u003cp>The tune uses music — think Schoolhouse Rock — to explain each of the state's 17 measures.\u003c/p>\n\u003cp>Here's the chorus:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"It's the Proposition Song.\u003c/em>\u003c/p>\n\u003cp>\u003cem>You should all be singing along.\u003c/em>\u003c/p>\n\u003cp>\u003cem>'Cause the ballot is too darn long.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And a lyric:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"Proposition 56 would enact\u003c/em>\u003c/p>\n\u003cp>\u003cem>a new tobacco tax.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If it passes smokers pay two more bucks per pack.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the song isn't the only way voters can learn about all the ballots. There's the state's \u003ca href=\"http://voterguide.sos.ca.gov/\" target=\"_blank\">official voter information guide \u003c/a>and also a myriad of online guides – \u003ca href=\"http://votersedge.capradio.org/\" target=\"_blank\">professional\u003c/a> and \u003ca href=\"http://seepolitical.com/#/props\" target=\"_blank\">amateur\u003c/a>, with graphics, videos and even \u003ca href=\"https://ballot.fyi/\" target=\"_blank\">mock text message chats\u003c/a>. And then, there are \u003ca href=\"https://drive.google.com/file/d/0B_sbc0NfVjK0aEdSUnY5ZG5yWWc/view\" target=\"_blank\">Proposition Haiku\u003c/a>, from Los Angeles Democratic Party activist Damian Carroll. Here's a taste of that:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Proposition 59\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Asks to overturn\u003c/em>\u003c/p>\n\u003cp>\u003cem>Citizens United, But\u003c/em>\u003c/p>\n\u003cp>\u003cem>Shucks, it's non-binding\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Kim Alexander, of the California Voter Foundation, says all those ballot measures do have a benefit.\u003c/p>\n\u003cp>\"Love it or hate it, California voters get to make law directly when we vote,\" Alexander says. \"And that's a huge amount of power – especially when you're talking about California, because we are a very influential state.\"\u003c/p>\n\u003cp>It is indeed a huge amount of power, vested in 18 million California voters — many of whom aren't quite sure what to do with it.\u003c/p>\n\u003cp>Copyright 2016 Capital Public Radio. To see more, visit \u003ca href=\"http://www.capradio.org\">Capital Public Radio\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/news/tag/cacounts/\">California Counts\u003c/a> is a collaboration of KPBS, KPCC, KQED and Capital Public Radio to report on the 2016 election. The coverage focuses on major issues and solicits diverse voices on what’s important to the future of California.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Voting can be a lot of work for Californians, who have 17 statewide and 650 local ballot measures to educate themselves about before next week's election.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Americans will decide more than 150 state ballot measures on Tuesday — up slightly from two years ago. That puts a lot of pressure on voters to study up on everything from marijuana legalization to gun control to the death penalty.\u003c/p>\n\u003cp>Californians in particular have a lot of homework to do. With 17 measures, their state has the longest ballot in the country this year. On top of that, there are 650 local measures around the state to decide on.\u003c/p>\n\u003cp>Voters are coming up with some creative ways to keep track of it all — like resident Deborah Barron, who had a \"Proposition Party\" at her home in San Francisco's Mission District.\u003c/p>\n\u003cp>Like any good host, she had snacks and drinks ready. But she also had hand-outs for the 17 state ballot measures and for the 25 local measures facing San Francisco voters.\u003c/p>\n\u003cfigure id=\"attachment_11157987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11157987\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg\" alt=\"Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d.jpg 1596w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District. \u003ccite>(Ben Adler/Capital Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The half-dozen adults at her house divvied up the prep work and took turns leading the discussion – starting with Proposition 51, the $9 billion statewide school bond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I mean, I don't know,\" says Barron, a 43-year-old attorney in private practice. \"Normally, I am 'Yes' on education ones, but...\"\u003c/p>\n\u003cp>\"I'm kind of 'No' on this too,\" chimes in 43-year-old Eric Quandt of Berkeley, who works in the San Francisco Public Defender's office.\u003c/p>\n\u003cp>\"That's how I feel,\" adds Jane Ivory Ernstthal. \"But I feel so wrong!\"\u003c/p>\n\u003cp>The group laughs. \"Are you voting against the education of our youth?\" Barron quips.\u003c/p>\n\u003cp>But party-goers quickly get frustrated.\u003c/p>\n\u003cp>\"Everybody's got college educations. All of us work in things that are impacted by this,\" Barron says. \"Numerous of us are attorneys, who read law for a living. And we still can't figure out how to vote.\"\u003c/p>\n\u003cp>And if it's this hard for people who've been voting for years, imagine what it's like for first-time voters. Carlos Hurtado, a junior at the University of California, Davis, is feeling the pressure.\u003c/p>\n\u003cp>\"It's just a lot, a lot to deal with,\" Hurtado says. \"I gotta take some time on the weekend to look over everything.\"\u003c/p>\n\u003cp>Asked if he planned to vote on all of the ballot measures, Hurtado replies: \"The ones that I feel strongly about.\"\u003c/p>\n\u003cp>\"I'll probably just scan it, see what interests me,\" says Julietta Zuvia, another student at UC-Davis.\u003c/p>\n\u003cp>It's a strategy that might make some long-time voters cringe, but not Kim Alexander with the California Voter Foundation.\u003c/p>\n\u003cp>\"I worry that people look at these 17 propositions and mistakenly think they have to vote on every single one of them – which they don't,\" Alexander says.\u003c/p>\n\u003cp>She says it's far better to leave something blank than to do what voters typically do, which is vote 'No.'\u003c/p>\n\u003cp>For voters who are overwhelmed by all those ballot measures, Alexander offers a California election tradition from her and her colleagues – the Proposition Song. She contributes on vocals and ukelele.\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/yizO7L2J7LU'\n title='//www.youtube.com/embed/yizO7L2J7LU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The tune uses music — think Schoolhouse Rock — to explain each of the state's 17 measures.\u003c/p>\n\u003cp>Here's the chorus:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"It's the Proposition Song.\u003c/em>\u003c/p>\n\u003cp>\u003cem>You should all be singing along.\u003c/em>\u003c/p>\n\u003cp>\u003cem>'Cause the ballot is too darn long.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And a lyric:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"Proposition 56 would enact\u003c/em>\u003c/p>\n\u003cp>\u003cem>a new tobacco tax.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If it passes smokers pay two more bucks per pack.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the song isn't the only way voters can learn about all the ballots. There's the state's \u003ca href=\"http://voterguide.sos.ca.gov/\" target=\"_blank\">official voter information guide \u003c/a>and also a myriad of online guides – \u003ca href=\"http://votersedge.capradio.org/\" target=\"_blank\">professional\u003c/a> and \u003ca href=\"http://seepolitical.com/#/props\" target=\"_blank\">amateur\u003c/a>, with graphics, videos and even \u003ca href=\"https://ballot.fyi/\" target=\"_blank\">mock text message chats\u003c/a>. And then, there are \u003ca href=\"https://drive.google.com/file/d/0B_sbc0NfVjK0aEdSUnY5ZG5yWWc/view\" target=\"_blank\">Proposition Haiku\u003c/a>, from Los Angeles Democratic Party activist Damian Carroll. Here's a taste of that:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Proposition 59\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Asks to overturn\u003c/em>\u003c/p>\n\u003cp>\u003cem>Citizens United, But\u003c/em>\u003c/p>\n\u003cp>\u003cem>Shucks, it's non-binding\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Kim Alexander, of the California Voter Foundation, says all those ballot measures do have a benefit.\u003c/p>\n\u003cp>\"Love it or hate it, California voters get to make law directly when we vote,\" Alexander says. \"And that's a huge amount of power – especially when you're talking about California, because we are a very influential state.\"\u003c/p>\n\u003cp>It is indeed a huge amount of power, vested in 18 million California voters — many of whom aren't quite sure what to do with it.\u003c/p>\n\u003cp>Copyright 2016 Capital Public Radio. To see more, visit \u003ca href=\"http://www.capradio.org\">Capital Public Radio\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/news/tag/cacounts/\">California Counts\u003c/a> is a collaboration of KPBS, KPCC, KQED and Capital Public Radio to report on the 2016 election. The coverage focuses on major issues and solicits diverse voices on what’s important to the future of California.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill Cosby’s eyesight has deteriorated to the point where he cannot identify his accusers in photographs or otherwise help with his defense, his lawyers said Wednesday as they waged a multipronged effort to get the sexual assault case against the 79-year-old comedian thrown out.\u003c/p>\n\u003cp>His attorneys also portrayed Cosby as a political pawn who is being prosecuted only because a suburban Philadelphia district attorney used the public furor over the comic to get elected last year.\u003c/p>\n\u003cp>And they renewed their argument that Cosby’s lurid 2005 deposition from a related lawsuit should not be admitted at his trial, saying he answered questions under oath only after being assured he would not be charged with a crime.\u003c/p>\n\u003cp>Cosby leaned back in his chair as his lawyers made their case to a judge at the pretrial hearing.\u003c/p>\n\u003cp>The “Cosby Show” star once known as America’s Dad is scheduled to go on trial in June on charges he drugged and molested Andrea Constand, a former Temple University employee, at his home in 2004. He could get 10 years in prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby has said the encounter was consensual. He is free on $1 million bail.\u003c/p>\n\u003cp>Dozens of additional accusers have come forward, including 13 women whom prosecutors want to call as witnesses at the trial to show that they were drugged and violated in similar fashion. Cosby’s lawyers are fighting that strategy.\u003c/p>\n\u003cp>Defense attorney Angela Agrusa argued that prosecutors unfairly prejudiced Cosby by waiting a decade to pursue Constand’s complaint. The defense said Cosby has memory problems and is also legally blind, presenting a medical report that said he is blind in his right eye and has glaucoma in both eyes.\u003c/p>\n\u003cp>“In the materials they turned over, the photographs, Mr. Cosby cannot look at a photograph or any evidence and help his counsel or explain who those people are,” Agrusa said.\u003c/p>\n\u003cp>However, prosecutors said Cosby himself caused the delay by fighting efforts by The Associated Press — in 2006 and again in 2014 — to unseal his testimony in Constand’s 2005 lawsuit. Prosecutors said that it was not until a judge unsealed the material last year that they learned that Cosby had admitted to a series of affairs and acknowledged obtaining quaaludes to give to women before sex.\u003c/p>\n\u003cp>“He had never admitted to using powerful drugs to facilitate sex with women. That’s a big deal,” Deputy District Attorney Robert Falin said. “In our case, it goes to what exactly did he give to Andrea. … I think any reasonable prosecutor would have taken another look at the case.”\u003c/p>\n\u003cp>Cosby’s lawyers have also argued that he sat for the deposition only after then-District Attorney Bruce Castor promised he would never face arrest in the Constand case.\u003c/p>\n\u003cp>Cosby’s attorneys are using that supposed promise to try to get the case thrown out or, failing that, to keep the deposition from being used at his trial. The judge did not immediately rule on the issue.\u003c/p>\n\u003cp>They are also focusing on the campaign battle between Castor and the current district attorney, Kevin Steele, in last year’s election in Montgomery County. Steele ran press releases and TV commercials attacking Castor for not prosecuting Cosby.\u003c/p>\n\u003cp>Steele made Cosby a “pawn in that election,” Agrusa argued.\u003c/p>\n\u003cp>“His cause celebre became attacking Mr. Cosby, stating publicly that his opponent had not been aggressive enough, had not done his job,” she said. “And now he’s in a situation where he’s got to act on it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At another point, Agrusa said: “My client is not a meme. He’s a human being. And his rights have been trampled by ego and ambition.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby’s eyesight has deteriorated to the point where he cannot identify his accusers in photographs or otherwise help with his defense, his lawyers said Wednesday as they waged a multipronged effort to get the sexual assault case against the 79-year-old comedian thrown out.\u003c/p>\n\u003cp>His attorneys also portrayed Cosby as a political pawn who is being prosecuted only because a suburban Philadelphia district attorney used the public furor over the comic to get elected last year.\u003c/p>\n\u003cp>And they renewed their argument that Cosby’s lurid 2005 deposition from a related lawsuit should not be admitted at his trial, saying he answered questions under oath only after being assured he would not be charged with a crime.\u003c/p>\n\u003cp>Cosby leaned back in his chair as his lawyers made their case to a judge at the pretrial hearing.\u003c/p>\n\u003cp>The “Cosby Show” star once known as America’s Dad is scheduled to go on trial in June on charges he drugged and molested Andrea Constand, a former Temple University employee, at his home in 2004. He could get 10 years in prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby has said the encounter was consensual. He is free on $1 million bail.\u003c/p>\n\u003cp>Dozens of additional accusers have come forward, including 13 women whom prosecutors want to call as witnesses at the trial to show that they were drugged and violated in similar fashion. Cosby’s lawyers are fighting that strategy.\u003c/p>\n\u003cp>Defense attorney Angela Agrusa argued that prosecutors unfairly prejudiced Cosby by waiting a decade to pursue Constand’s complaint. The defense said Cosby has memory problems and is also legally blind, presenting a medical report that said he is blind in his right eye and has glaucoma in both eyes.\u003c/p>\n\u003cp>“In the materials they turned over, the photographs, Mr. Cosby cannot look at a photograph or any evidence and help his counsel or explain who those people are,” Agrusa said.\u003c/p>\n\u003cp>However, prosecutors said Cosby himself caused the delay by fighting efforts by The Associated Press — in 2006 and again in 2014 — to unseal his testimony in Constand’s 2005 lawsuit. Prosecutors said that it was not until a judge unsealed the material last year that they learned that Cosby had admitted to a series of affairs and acknowledged obtaining quaaludes to give to women before sex.\u003c/p>\n\u003cp>“He had never admitted to using powerful drugs to facilitate sex with women. That’s a big deal,” Deputy District Attorney Robert Falin said. “In our case, it goes to what exactly did he give to Andrea. … I think any reasonable prosecutor would have taken another look at the case.”\u003c/p>\n\u003cp>Cosby’s lawyers have also argued that he sat for the deposition only after then-District Attorney Bruce Castor promised he would never face arrest in the Constand case.\u003c/p>\n\u003cp>Cosby’s attorneys are using that supposed promise to try to get the case thrown out or, failing that, to keep the deposition from being used at his trial. The judge did not immediately rule on the issue.\u003c/p>\n\u003cp>They are also focusing on the campaign battle between Castor and the current district attorney, Kevin Steele, in last year’s election in Montgomery County. Steele ran press releases and TV commercials attacking Castor for not prosecuting Cosby.\u003c/p>\n\u003cp>Steele made Cosby a “pawn in that election,” Agrusa argued.\u003c/p>\n\u003cp>“His cause celebre became attacking Mr. Cosby, stating publicly that his opponent had not been aggressive enough, had not done his job,” she said. “And now he’s in a situation where he’s got to act on it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At another point, Agrusa said: “My client is not a meme. He’s a human being. And his rights have been trampled by ego and ambition.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At \u003ca href=\"https://www.facebook.com/pages/Oakdale-Memorial-Park-Mortuary/117609474932667\" target=\"_blank\" rel=\"noopener\">Oakdale Memorial Park\u003c/a> things are a little different on Nov. 1 — All Saints’ Day for many Christians.\u003c/p>\n\u003cp>This place of rest in \u003ca href=\"http://www.ci.glendora.ca.us/\" target=\"_blank\" rel=\"noopener\">Glendora\u003c/a>, east of Los Angeles, comes alive with the joyful strum and blaring brass of live mariachi music. The color and beauty of Mexican folkloric dance sweeps across the grounds. Sweet and savory aromas rise from a small army of food trucks nearby. And vendors sit at display tables and beneath tents, selling handmade arts and crafts.\u003c/p>\n\u003cp>Hundreds of people have come to celebrate \u003ca href=\"http://nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Dia de Los Muertos\u003c/a>, the indigenous Mexican festival also known as Day of the Dead.\u003c/p>\n\u003cp>Rosie Kaiban came with her daughter, Stephanie, and her granddaughter, Lauren.\u003c/p>\n\u003cp>“We’re here to enjoy all the people and enjoy everything that Dia de Los Muertos stands for,” says Kaiban.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what it stands for is getting a little harder to tell, in part because the festival’s cultural icons are beginning to appear on everything — from beer bottles to T-shirts, tennis shoes and dog collars. Even \u003ca href=\"http://www.starbucks.com/menu/food/bakery/dia-de-los-muertos-cookie\" target=\"_blank\" rel=\"noopener\">Starbucks features Dia de los Muertos skull cookies \u003c/a>in their pastry cases.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Building of the altar is a way that we intentionally and mindfully create something beautiful.’\u003ccite>Gilbert Cadena, professor at Cal Poly Pomona\u003c/cite>\u003c/aside>\n\u003cp>But as the scene at Oakdale Memorial Park demonstrates, the day means much more. People are here to commemorate a tradition that dates back thousands of years. The central cultural experience is about family and remembrance.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artbyhectorsilva.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles-based Chicano artist Hector Silva\u003c/a> stands next to his work — a stunning collection of intricate and ornate pencil art sketches, incredible for their precision and depth. Silva has celebrated the day since he was a kid in Jalisco, Mexico.\u003c/p>\n\u003cp>“It’s significant,” says Silva. “Celebrating our people that are passed on. And just remember them and to keep loving them. I do a lot of Dia de Los Muertos art because I want to keep that tradition alive.”\u003c/p>\n\u003cfigure id=\"attachment_11156533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11156533\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg\" alt=\"Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration. \u003ccite>(Tena Rubio/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the tradition is elaborate. Celebrants \u003ca href=\"http://www.mexicansugarskull.com/support/dodhistory.html\" target=\"_blank\" rel=\"noopener\">paint their faces as skulls \u003c/a>to represent the veil between life and death. Altars are adorned with marigolds, sugar skulls and photographs of loved ones.\u003c/p>\n\u003cp>Gilbert Cadena teaches ethnic and women’s studies at Cal Poly Pomona, and hopes the focus of Dia de los Muertos remains on the deep familial and cultural ties that the day represents.\u003c/p>\n\u003cp>“Building of the altar is a way that we intentionally and mindfully create something beautiful,” Cadena says. “It’s a way your story and your life will be passed on to your children and family.”\u003c/p>\n\u003cp>Everything on the altar has meaning. Each sugar skull bears the name of a loved one. The bright and pungent marigolds are said to guide the spirits home. Bright burning candles light the way.\u003c/p>\n\u003cp>And then there are the personal touches.\u003c/p>\n\u003cp>“If your mother or father likes tamales, you can bring tamales. If they like to smoke, you bring a pipe. If they like to drink, you can bring a shot of tequila,” explains Cadena. “Something to remember them by.”\u003c/p>\n\u003cp>Dia de los Muertos is a tradition that embraces life and death — a hopeful and meaningful common bond we all share. Standing next to her family’s grave, Rosie Kaiban says it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My mother-in-law. My sister-in-law. And, someday, we’ll be buried here, too.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003ca href=\"https://www.facebook.com/pages/Oakdale-Memorial-Park-Mortuary/117609474932667\" target=\"_blank\" rel=\"noopener\">Oakdale Memorial Park\u003c/a> things are a little different on Nov. 1 — All Saints’ Day for many Christians.\u003c/p>\n\u003cp>This place of rest in \u003ca href=\"http://www.ci.glendora.ca.us/\" target=\"_blank\" rel=\"noopener\">Glendora\u003c/a>, east of Los Angeles, comes alive with the joyful strum and blaring brass of live mariachi music. The color and beauty of Mexican folkloric dance sweeps across the grounds. Sweet and savory aromas rise from a small army of food trucks nearby. And vendors sit at display tables and beneath tents, selling handmade arts and crafts.\u003c/p>\n\u003cp>Hundreds of people have come to celebrate \u003ca href=\"http://nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Dia de Los Muertos\u003c/a>, the indigenous Mexican festival also known as Day of the Dead.\u003c/p>\n\u003cp>Rosie Kaiban came with her daughter, Stephanie, and her granddaughter, Lauren.\u003c/p>\n\u003cp>“We’re here to enjoy all the people and enjoy everything that Dia de Los Muertos stands for,” says Kaiban.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what it stands for is getting a little harder to tell, in part because the festival’s cultural icons are beginning to appear on everything — from beer bottles to T-shirts, tennis shoes and dog collars. Even \u003ca href=\"http://www.starbucks.com/menu/food/bakery/dia-de-los-muertos-cookie\" target=\"_blank\" rel=\"noopener\">Starbucks features Dia de los Muertos skull cookies \u003c/a>in their pastry cases.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Building of the altar is a way that we intentionally and mindfully create something beautiful.’\u003ccite>Gilbert Cadena, professor at Cal Poly Pomona\u003c/cite>\u003c/aside>\n\u003cp>But as the scene at Oakdale Memorial Park demonstrates, the day means much more. People are here to commemorate a tradition that dates back thousands of years. The central cultural experience is about family and remembrance.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artbyhectorsilva.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles-based Chicano artist Hector Silva\u003c/a> stands next to his work — a stunning collection of intricate and ornate pencil art sketches, incredible for their precision and depth. Silva has celebrated the day since he was a kid in Jalisco, Mexico.\u003c/p>\n\u003cp>“It’s significant,” says Silva. “Celebrating our people that are passed on. And just remember them and to keep loving them. I do a lot of Dia de Los Muertos art because I want to keep that tradition alive.”\u003c/p>\n\u003cfigure id=\"attachment_11156533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11156533\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg\" alt=\"Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration. \u003ccite>(Tena Rubio/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the tradition is elaborate. Celebrants \u003ca href=\"http://www.mexicansugarskull.com/support/dodhistory.html\" target=\"_blank\" rel=\"noopener\">paint their faces as skulls \u003c/a>to represent the veil between life and death. Altars are adorned with marigolds, sugar skulls and photographs of loved ones.\u003c/p>\n\u003cp>Gilbert Cadena teaches ethnic and women’s studies at Cal Poly Pomona, and hopes the focus of Dia de los Muertos remains on the deep familial and cultural ties that the day represents.\u003c/p>\n\u003cp>“Building of the altar is a way that we intentionally and mindfully create something beautiful,” Cadena says. “It’s a way your story and your life will be passed on to your children and family.”\u003c/p>\n\u003cp>Everything on the altar has meaning. Each sugar skull bears the name of a loved one. The bright and pungent marigolds are said to guide the spirits home. Bright burning candles light the way.\u003c/p>\n\u003cp>And then there are the personal touches.\u003c/p>\n\u003cp>“If your mother or father likes tamales, you can bring tamales. If they like to smoke, you bring a pipe. If they like to drink, you can bring a shot of tequila,” explains Cadena. “Something to remember them by.”\u003c/p>\n\u003cp>Dia de los Muertos is a tradition that embraces life and death — a hopeful and meaningful common bond we all share. Standing next to her family’s grave, Rosie Kaiban says it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My mother-in-law. My sister-in-law. And, someday, we’ll be buried here, too.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They’re officially the coolest kids to come out of Forest Hills High in Queens, N.Y., and that’s saying something. The street where the Ramones — Joey, Johnny, Dee Dee and Tommy — went to high school is now named for them, as they beat out other former students such as Burt Bacharach, Paul Simon and Art Garfunkel.\u003c/p>\n\u003cp>It’s a natural fit for a band that personified street-tough punk rock to have a street named for it — and the band now has two in New York City alone. The new one’s at 67th Ave. and 110th, where hundreds of fans gathered for a renaming ceremony Sunday. Already on the map: Joey Ramone Place on the Lower East Side, near the former home of the CBGB club.\u003c/p>\n\u003cp>For NPR’s Newscast unit, \u003ca href=\"http://allysonmccabe.com/\" target=\"_blank\" rel=\"noopener\">Allyson Mccabe\u003c/a> reports from today’s dedication ceremony in New York:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mickey Leigh, brother of the late Joey Ramone, led the effort to commemorate the band’s origins. Although all of the Ramones’ original members have passed on, among those in attendance today were the Ramones’ former manager, Danny Fields, and the band’s long-time tour manager, Monte Melnick. Melnick, also a Forest Hills High alumnus, says the band’s legacy can be described as succinctly as their songs.\u003c/p>\n\u003cp>” ‘They did what they could with what they had, which was their music. That’s the Ramones way.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>To appreciate their feat of having their old high school’s street named for them, consider that \u003ca href=\"https://en.wikipedia.org/wiki/Forest_Hills_High_School_(New_York)#Notable_alumni\" target=\"_blank\" rel=\"noopener\">other former students\u003c/a> included Bob Keeshan (who portrayed Captain Kangaroo), Radioactive Records founder and music promoter Gary Kurfirst, and current U.S. Treasury Secretary Jack Lew.\u003c/p>\n\u003cp>Another famous product of the Forest Hills neighborhood was Peter Parker, a.k.a. Spiderman, whose Midtown High School is believed to have been based on Forest Hills High.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In honor of Halloween, here’s one of the Ramones’ later hits: “Pet Sematary” — as in “I don’t wanna be buried in a ….”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F3J0iwwsq-w\u003c/p>\n\u003cp>But if you’re thirsty for the punk-rock edge that the Ramones were famous for, it’s best to check out their London concert from 1977: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sp3zaeOyL7Q\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Ramones+Way%3A+Street+At+Rockers%27+High+School+Is+Renamed+For+Band&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re officially the coolest kids to come out of Forest Hills High in Queens, N.Y., and that’s saying something. The street where the Ramones — Joey, Johnny, Dee Dee and Tommy — went to high school is now named for them, as they beat out other former students such as Burt Bacharach, Paul Simon and Art Garfunkel.\u003c/p>\n\u003cp>It’s a natural fit for a band that personified street-tough punk rock to have a street named for it — and the band now has two in New York City alone. The new one’s at 67th Ave. and 110th, where hundreds of fans gathered for a renaming ceremony Sunday. Already on the map: Joey Ramone Place on the Lower East Side, near the former home of the CBGB club.\u003c/p>\n\u003cp>For NPR’s Newscast unit, \u003ca href=\"http://allysonmccabe.com/\" target=\"_blank\" rel=\"noopener\">Allyson Mccabe\u003c/a> reports from today’s dedication ceremony in New York:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mickey Leigh, brother of the late Joey Ramone, led the effort to commemorate the band’s origins. Although all of the Ramones’ original members have passed on, among those in attendance today were the Ramones’ former manager, Danny Fields, and the band’s long-time tour manager, Monte Melnick. Melnick, also a Forest Hills High alumnus, says the band’s legacy can be described as succinctly as their songs.\u003c/p>\n\u003cp>” ‘They did what they could with what they had, which was their music. That’s the Ramones way.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>To appreciate their feat of having their old high school’s street named for them, consider that \u003ca href=\"https://en.wikipedia.org/wiki/Forest_Hills_High_School_(New_York)#Notable_alumni\" target=\"_blank\" rel=\"noopener\">other former students\u003c/a> included Bob Keeshan (who portrayed Captain Kangaroo), Radioactive Records founder and music promoter Gary Kurfirst, and current U.S. Treasury Secretary Jack Lew.\u003c/p>\n\u003cp>Another famous product of the Forest Hills neighborhood was Peter Parker, a.k.a. Spiderman, whose Midtown High School is believed to have been based on Forest Hills High.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In honor of Halloween, here’s one of the Ramones’ later hits: “Pet Sematary” — as in “I don’t wanna be buried in a ….”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F3J0iwwsq-w'\n title='//www.youtube.com/embed/F3J0iwwsq-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But if you’re thirsty for the punk-rock edge that the Ramones were famous for, it’s best to check out their London concert from 1977: \u003c/p>\n\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/Sp3zaeOyL7Q'\n title='//www.youtube.com/embed/Sp3zaeOyL7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Ramones+Way%3A+Street+At+Rockers%27+High+School+Is+Renamed+For+Band&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Let’s Get Metaphysical: Meet the Gym Owner Who’ll Give You an Exorcism",
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"content": "\u003cp>At first glance, you probably wouldn’t guess that Adam Higgs is an exorcist. Of course, he claims other titles as well: clairvoyant, psychic, medium, healer, channeler of spirits from beyond the grave. And, according to his website, he’s a metaphysical master.\u003c/p>\n\u003cp>But, sitting behind the desk at the SHED Health Center -- the small gym he runs in Meiners Oaks, a few miles from Ventura -- Higgs looks a lot more like the London bouncer that he once was. Muscular, cut, 6 feet tall and 208 pounds of pure power-lifting bloke, as it were. Oh yeah, he used to be a competitive power lifter, too.\u003c/p>\n\u003cp>All in all, seemingly a man more likely to deliver a swift head butt than to thoughtfully read your palm. Yet that’s exactly what I was to experience, despite the fact that I went to his gym only to get in a quick workout.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/290478682\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>We ended up talking about his occult work. And yes, performing exorcisms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Oh yeah, done that,” says Higgs, with the same bored nonchalance you might expect from someone talking about getting their car washed. “It's a very simple procedure,” he says of demon banishment. “If you've got the balls to do it.”\u003c/p>\n\u003cp>To whatever degree you subscribe to the trappings of the metaphysical world, Higgs pretty much radiates balls. Hard to argue that.\u003c/p>\n\u003cp>“I tell the blatant, hard-hitting truth,” he says in a blatant, hard-hitting manner. “Whether it’s the truth about the future, the truth about their bodies, the truth about their diets, it all comes down to the basic concept of most people are doing it wrong.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m a last resort. So most people ... when they’ve been to everybody else, they usually come to me.'\u003c/aside>\n\u003cp>So there. It’s that attitude that’s earned him steadfast clients, he says, around the globe. Particularly in Ireland and Hong Kong, where he travels regularly to provide readings and healing sessions.\u003c/p>\n\u003cp>Higgs was raised just outside London. His father owned a garage, his mother raised Dobermans. His life was “pretty normal. I didn't have any interest in metaphysics,” he says. At age 30 (he’s 53 now), his life began a new course. “I'd just broken up with my girlfriend and my mother took me for a reading.” The medium suggested that Higgs take a class from her, and he discovered he had an aptitude for clairvoyance.\u003c/p>\n\u003cp>“I gave it a go,” he says. “I'm not really trying the first week, second week it’s quite interesting. The third week I was trying really hard and got the old gold arrow shot across, went straight into my third eye. And then it really opened up for me.”\u003c/p>\n\u003cp>The instructor asked if he’d like to try trance mediumship, “where the spirit comes into you and your voice changes and your body changes and your face changes and everything,” Higgs says. “The first time I did that, I went straight in. That was great, that hooked me. That was better than sex and weightlifting put together.”\u003c/p>\n\u003cfigure id=\"attachment_11149860\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11149860\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg\" alt=\"Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks.\" width=\"800\" height=\"1079\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1020x1375.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1180x1591.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-960x1295.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there he went to the Arthur Findlay College in Essex, England, an establishment that specializes in educating believers in the metaphysical arts. After graduating he plied his trade in Ireland, moving to the States in 2005 (citizenship was no problem, his father was a Detroit native) and setting up shop in Meiners Oaks.\u003c/p>\n\u003cp>He has a small farm nearby where he lives with his wife and daughter. He raises his own fruit, vegetables and meat. He has a goat. He drinks its milk. He hasn’t had a drop of booze since he was 22. “I was not a good drinker,” Higgs explains. These days he’s all about health and the spirit world.\u003c/p>\n\u003cp>“I don’t have any problem with people who go to church,” he says. “If it brings them comfort that’s great. People come to me who've lost their sons or daughters and want to know they’re fine. That’s great, too, and that’s a service I offer.”\u003c/p>\n\u003cp>What if those non-terra firma souls aren’t great?\u003c/p>\n\u003cp>“Never had that experience,” Higgs states. “I'm a last resort. So most people — especially when I work in Ireland and Hong Kong — when they've been to everybody else, they usually come to me.”\u003c/p>\n\u003cp>I’m not looking for a last resort, but let’s be honest. I’ve been to church, I’ve spent time in bars, I’ve read \"The Power of Now.\" And still, dollars to doughnuts, I’m often a quivering mass of existential confusion. I ask him for a reading.\u003c/p>\n\u003cp>And so it is that I find myself in the patio of his gym, bright and early one morning. Higgs is energized. He’s just finished eating sprouted bread with raw cheese and homemade sauerkraut. The man doesn’t drink coffee — “the Tibetans say it carries disease.” We sit across from each other, knees almost touching. I extend my hands, palms up, as if awaiting the medium to slap me five.\u003c/p>\n\u003cp>But instead of that, he concentrates, exhales, and begins poking and prodding my palms. And the revelations begin.\u003c/p>\n\u003cp>“You've got soft hands. You're nice, you’re kind, you're soft, you’re gentle. Too nice, too kind, too soft, too gentle. You can get slaughtered sometimes. You got a nice fate line here,” he says. “You have the potential to live a long time, but you should also take some fish oil as well.”\u003c/p>\n\u003cp>Dry skin?\u003c/p>\n\u003cp>“No. See how that line dissipates? Dissipation at the end. That’s always indicative of Alzheimer’s or senile dementia.”\u003c/p>\n\u003cp>Good to know.\u003c/p>\n\u003cp>“There's an option to write a book here as well, but not necessarily a fiction book, maybe a manual or a treatise. Have a dog, do you?”\u003c/p>\n\u003cp>I do.\u003c/p>\n\u003cp>“You've just got to love your girlfriend like you love your dog.”\u003c/p>\n\u003cp>Well, I love them both in their respective ways, I tell him.\u003c/p>\n\u003cp>“But you give your dog unconditional love. If you give your girlfriend exactly the same, she’ll be happy.” I make note of this. Higgs continues.\u003c/p>\n\u003cp>“Have a young woman you’re close to? Blond hair?”\u003c/p>\n\u003cp>Not really.\u003c/p>\n\u003cp>“There's a young woman to come into your life. She could prove to be quite useful.” I suggest this might not seem so useful to my girlfriend, who is not blond, but he doesn’t miss a beat.\u003c/p>\n\u003cp>“I didn’t say it was romantic. I mean in a professional sense.”\u003c/p>\n\u003cp>“Have you been to Europe? I can see Rome and Paris for you, and South America. And the option for a trip East.” Not the most specific of predictions, but I’m fine with any or all of that.\u003c/p>\n\u003cp>Then I have a question. Does this tell you how bad things will get? Higgs ponders my left palm and exhales heavily.\u003c/p>\n\u003cp>“With your hands the option for things getting that bad is not that great. You just fade away into the middle distance.”\u003c/p>\n\u003cp>Certainly a fate more terrifying than anything Halloween can conjure up. But then, of course, Higgs had warned me. He tells the blatant, hard-hitting truth. A lot more was revealed. Some things seemed accurate, some general. Sometimes both at once.\u003c/p>\n\u003cp>I didn’t come to judge, but what did it all mean? Some might find it helpful, insightful, wondrous. Others may laugh it all off as a parlor trick. I can tell you this: Someday, I’ll be in Rome, loving my dog and my girlfriend unconditionally, writing a treatise, sipping fish oil. Avoiding the middle distance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Special thanks to Chris Ballew for contributing his original music to the radio version of this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oh yeah, done that,” says Higgs, with the same bored nonchalance you might expect from someone talking about getting their car washed. “It's a very simple procedure,” he says of demon banishment. “If you've got the balls to do it.”\u003c/p>\n\u003cp>To whatever degree you subscribe to the trappings of the metaphysical world, Higgs pretty much radiates balls. Hard to argue that.\u003c/p>\n\u003cp>“I tell the blatant, hard-hitting truth,” he says in a blatant, hard-hitting manner. “Whether it’s the truth about the future, the truth about their bodies, the truth about their diets, it all comes down to the basic concept of most people are doing it wrong.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m a last resort. So most people ... when they’ve been to everybody else, they usually come to me.'\u003c/aside>\n\u003cp>So there. It’s that attitude that’s earned him steadfast clients, he says, around the globe. Particularly in Ireland and Hong Kong, where he travels regularly to provide readings and healing sessions.\u003c/p>\n\u003cp>Higgs was raised just outside London. His father owned a garage, his mother raised Dobermans. His life was “pretty normal. I didn't have any interest in metaphysics,” he says. At age 30 (he’s 53 now), his life began a new course. “I'd just broken up with my girlfriend and my mother took me for a reading.” The medium suggested that Higgs take a class from her, and he discovered he had an aptitude for clairvoyance.\u003c/p>\n\u003cp>“I gave it a go,” he says. “I'm not really trying the first week, second week it’s quite interesting. The third week I was trying really hard and got the old gold arrow shot across, went straight into my third eye. And then it really opened up for me.”\u003c/p>\n\u003cp>The instructor asked if he’d like to try trance mediumship, “where the spirit comes into you and your voice changes and your body changes and your face changes and everything,” Higgs says. “The first time I did that, I went straight in. That was great, that hooked me. That was better than sex and weightlifting put together.”\u003c/p>\n\u003cfigure id=\"attachment_11149860\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11149860\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg\" alt=\"Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks.\" width=\"800\" height=\"1079\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1020x1375.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1180x1591.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-960x1295.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there he went to the Arthur Findlay College in Essex, England, an establishment that specializes in educating believers in the metaphysical arts. After graduating he plied his trade in Ireland, moving to the States in 2005 (citizenship was no problem, his father was a Detroit native) and setting up shop in Meiners Oaks.\u003c/p>\n\u003cp>He has a small farm nearby where he lives with his wife and daughter. He raises his own fruit, vegetables and meat. He has a goat. He drinks its milk. He hasn’t had a drop of booze since he was 22. “I was not a good drinker,” Higgs explains. These days he’s all about health and the spirit world.\u003c/p>\n\u003cp>“I don’t have any problem with people who go to church,” he says. “If it brings them comfort that’s great. People come to me who've lost their sons or daughters and want to know they’re fine. That’s great, too, and that’s a service I offer.”\u003c/p>\n\u003cp>What if those non-terra firma souls aren’t great?\u003c/p>\n\u003cp>“Never had that experience,” Higgs states. “I'm a last resort. So most people — especially when I work in Ireland and Hong Kong — when they've been to everybody else, they usually come to me.”\u003c/p>\n\u003cp>I’m not looking for a last resort, but let’s be honest. I’ve been to church, I’ve spent time in bars, I’ve read \"The Power of Now.\" And still, dollars to doughnuts, I’m often a quivering mass of existential confusion. I ask him for a reading.\u003c/p>\n\u003cp>And so it is that I find myself in the patio of his gym, bright and early one morning. Higgs is energized. He’s just finished eating sprouted bread with raw cheese and homemade sauerkraut. The man doesn’t drink coffee — “the Tibetans say it carries disease.” We sit across from each other, knees almost touching. I extend my hands, palms up, as if awaiting the medium to slap me five.\u003c/p>\n\u003cp>But instead of that, he concentrates, exhales, and begins poking and prodding my palms. And the revelations begin.\u003c/p>\n\u003cp>“You've got soft hands. You're nice, you’re kind, you're soft, you’re gentle. Too nice, too kind, too soft, too gentle. You can get slaughtered sometimes. You got a nice fate line here,” he says. “You have the potential to live a long time, but you should also take some fish oil as well.”\u003c/p>\n\u003cp>Dry skin?\u003c/p>\n\u003cp>“No. See how that line dissipates? Dissipation at the end. That’s always indicative of Alzheimer’s or senile dementia.”\u003c/p>\n\u003cp>Good to know.\u003c/p>\n\u003cp>“There's an option to write a book here as well, but not necessarily a fiction book, maybe a manual or a treatise. Have a dog, do you?”\u003c/p>\n\u003cp>I do.\u003c/p>\n\u003cp>“You've just got to love your girlfriend like you love your dog.”\u003c/p>\n\u003cp>Well, I love them both in their respective ways, I tell him.\u003c/p>\n\u003cp>“But you give your dog unconditional love. If you give your girlfriend exactly the same, she’ll be happy.” I make note of this. Higgs continues.\u003c/p>\n\u003cp>“Have a young woman you’re close to? Blond hair?”\u003c/p>\n\u003cp>Not really.\u003c/p>\n\u003cp>“There's a young woman to come into your life. She could prove to be quite useful.” I suggest this might not seem so useful to my girlfriend, who is not blond, but he doesn’t miss a beat.\u003c/p>\n\u003cp>“I didn’t say it was romantic. I mean in a professional sense.”\u003c/p>\n\u003cp>“Have you been to Europe? I can see Rome and Paris for you, and South America. And the option for a trip East.” Not the most specific of predictions, but I’m fine with any or all of that.\u003c/p>\n\u003cp>Then I have a question. Does this tell you how bad things will get? Higgs ponders my left palm and exhales heavily.\u003c/p>\n\u003cp>“With your hands the option for things getting that bad is not that great. You just fade away into the middle distance.”\u003c/p>\n\u003cp>Certainly a fate more terrifying than anything Halloween can conjure up. But then, of course, Higgs had warned me. He tells the blatant, hard-hitting truth. A lot more was revealed. Some things seemed accurate, some general. Sometimes both at once.\u003c/p>\n\u003cp>I didn’t come to judge, but what did it all mean? Some might find it helpful, insightful, wondrous. Others may laugh it all off as a parlor trick. I can tell you this: Someday, I’ll be in Rome, loving my dog and my girlfriend unconditionally, writing a treatise, sipping fish oil. Avoiding the middle distance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Special thanks to Chris Ballew for contributing his original music to the radio version of this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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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.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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