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"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This video is a co-production between KQED and Yerba Buena Center for the Arts.\u003c/span>\u003c/i>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For dancer and queer immigrant Gerald Casel, the body is a recording device — one that asks: Can we design freedom? And if so, what do we do with it?\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.geraldcasel.com/\">Gerald Casel\u003c/a> is a queer immigrant artist-activist and educator who creates and presents dances that ask questions about human beings — who they are, what they do and how their actions affect the world in which they live. He experiences the body as a recording device that documents feelings, emotions and states from an entire lifetime of experiences. He is deeply curious about how habituation, oppression and identity play out in movement, dance and the human form.\u003c/p>\n\u003cp>Gerald was born in Manila and raised in Oakland and San Jose. During high school he devoured music videos and movies, looking to learn more about movement and dance, and went on to graduate from the Juilliard School. He now teaches at national dance festivals like the American Dance Festival and Mountain Dance Fest, and continues his work with the next generation of Bay Area dancers as an \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz.\u003c/p>\n\u003cp>\u003cstrong>What is your idea of freedom?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since sitting in on Jeff Chang’s \u003ca href=\"https://ccsre.stanford.edu/newsletter-art/innovative-course-explores-art-occupy-movement\">Occupy Art class\u003c/a> at Stanford in 2012, I’ve been a fan of his essays on the intersection of \u003ca href=\"https://www.amazon.com/dp/B007MB66WG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">contemporary art and hip-hop\u003c/a>, and his 416-page book, \u003ca href=\"https://www.amazon.com/Who-We-Be-Cultural-Post-Civil/dp/0312571291\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/forum/2014/12/01/cultural-critic-jeff-changs-new-book-about-race/\" target=\"_blank\" rel=\"noopener\">Who We Be: The Colorization of America\u003c/a>, which accompanied me on an international trip.\u003c/p>\n\u003cp>Yet in Chang’s most recent collection of essays, \u003ca href=\"https://books.google.com/books/about/We_Gon_Be_Alright.html?id=JkIkjwEACAAJ\">We Gon’ Be Alright\u003c/a>, what I appreciate most is that his writing seems more personal. He lets his readers in on what’s happening beyond the heady and occasionally stuffy academic world, and into what’s going on in the heart. A modern-day \u003cem>Chicken Soup for the Burned Out-Yet-Still-Hopeful Activist Soul\u003c/em>, if you will. \u003c/p>\n\u003cfigure id=\"attachment_12151213\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151213 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg\" alt=\"Author Jeff Chang is also director of Stanford's Institute for Diversity in the Arts.\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1180x1176.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1920x1913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2.jpg 2007w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Author Jeff Chang is also director of Stanford’s Institute for Diversity in the Arts. \u003ccite>(Jeremy Keith Villaluz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to \u003cem>Who We Be\u003c/em>, which details the cultural history of the idea of race in the United States, Chang’s latest book of six essays is much smaller in weight and volume — but the content is still powerful.\u003c/p>\n\u003cp>His first two essays, “Is Diversity for White People? On Fearmongering, Picture Taking, and Avoidance” and “What a Time to Be Alive: On Student Protest” both focus on students and educational institutions. The former concerns the all-too-familiar account of a college trying too hard to show its diversity in promotional materials. In 2000, the University of Wisconsin \u003ca href=\"http://www.npr.org/2013/12/29/257765543/a-campus-more-colorful-than-reality-beware-that-college-brochure\" target=\"_blank\" rel=\"noopener\">went viral for all the wrong reasons\u003c/a> by photoshopping Diallo Shabazz, a black student, into the cover of its admission booklet, prompting Chang to question — who is diversity for? The essay prompts a re-thinking of the very word “diversity,” and asks, “What would a diversity that liberated everyone look like?”\u003c/p>\n\u003cp>Another essay, “Vanilla Cities and Their Chocolate Suburbs: On Resegregation,” discusses the current climate of resegregation; in particular regarding education. Full of sentences that could serve as topics for future books, the essay is driven by statistics. The average white student attends a school that is 75 percent white, Chang writes. He also notes that in 2014, more than 300 school districts across the country were still involved in active desegregation orders dating to the civil rights era, and takes on changing city demographics as a result of evictions and gentrification in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12151214 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg\" alt=\"WGBA.Cover.hires\" width=\"295\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-768x1199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-756x1180.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-1180x1843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-960x1499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_.jpg 1825w\" sizes=\"(max-width: 295px) 100vw, 295px\">\u003c/p>\n\u003cp>“Hands Up: On Ferguson” takes the reader through the intense nights of the Ferguson protests, beginning before Michael Brown was shot and leading the reader through the protests that followed. The essay humanizes both Brown and the protesters, and provides a deeper look into the structural inequities of the city of Ferguson.\u003c/p>\n\u003cp>Finally, Chang’s last essay “The In-Betweens: On Asian Americanness” reads like a spoken-word piece. Written in second person, Chang, himself Asian American, addresses the reader intimately: “You wanted an identity that would not just be a weapon but a tool, something that would not just bludgeon but build, that would not only justify your pain — inherited and accumulated — but let you stay open to the world, let you connect and grow.” I found myself nodding in agreement, feeling as though he was speaking directly to me.\u003c/p>\n\u003cp>Though the essay topics in \u003cem>We Gon’ Be Alright\u003c/em> might be considered somewhat disjointed, they show the myriad ways identity, culture and race are involved in our everyday lives — from educational institutions to cultural icons.\u003c/p>\n\u003cp>\u003ci>\u003cstrong>BONUS VIDEO:\u003c/strong> KQED Newsroom’s Thuy Vu talks with Jeff Chang about his new book and race relations in America. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0JLW0d42Cyc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since sitting in on Jeff Chang’s \u003ca href=\"https://ccsre.stanford.edu/newsletter-art/innovative-course-explores-art-occupy-movement\">Occupy Art class\u003c/a> at Stanford in 2012, I’ve been a fan of his essays on the intersection of \u003ca href=\"https://www.amazon.com/dp/B007MB66WG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">contemporary art and hip-hop\u003c/a>, and his 416-page book, \u003ca href=\"https://www.amazon.com/Who-We-Be-Cultural-Post-Civil/dp/0312571291\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/forum/2014/12/01/cultural-critic-jeff-changs-new-book-about-race/\" target=\"_blank\" rel=\"noopener\">Who We Be: The Colorization of America\u003c/a>, which accompanied me on an international trip.\u003c/p>\n\u003cp>Yet in Chang’s most recent collection of essays, \u003ca href=\"https://books.google.com/books/about/We_Gon_Be_Alright.html?id=JkIkjwEACAAJ\">We Gon’ Be Alright\u003c/a>, what I appreciate most is that his writing seems more personal. He lets his readers in on what’s happening beyond the heady and occasionally stuffy academic world, and into what’s going on in the heart. A modern-day \u003cem>Chicken Soup for the Burned Out-Yet-Still-Hopeful Activist Soul\u003c/em>, if you will. \u003c/p>\n\u003cfigure id=\"attachment_12151213\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151213 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg\" alt=\"Author Jeff Chang is also director of Stanford's Institute for Diversity in the Arts.\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1180x1176.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1920x1913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2.jpg 2007w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Author Jeff Chang is also director of Stanford’s Institute for Diversity in the Arts. \u003ccite>(Jeremy Keith Villaluz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to \u003cem>Who We Be\u003c/em>, which details the cultural history of the idea of race in the United States, Chang’s latest book of six essays is much smaller in weight and volume — but the content is still powerful.\u003c/p>\n\u003cp>His first two essays, “Is Diversity for White People? On Fearmongering, Picture Taking, and Avoidance” and “What a Time to Be Alive: On Student Protest” both focus on students and educational institutions. The former concerns the all-too-familiar account of a college trying too hard to show its diversity in promotional materials. In 2000, the University of Wisconsin \u003ca href=\"http://www.npr.org/2013/12/29/257765543/a-campus-more-colorful-than-reality-beware-that-college-brochure\" target=\"_blank\" rel=\"noopener\">went viral for all the wrong reasons\u003c/a> by photoshopping Diallo Shabazz, a black student, into the cover of its admission booklet, prompting Chang to question — who is diversity for? The essay prompts a re-thinking of the very word “diversity,” and asks, “What would a diversity that liberated everyone look like?”\u003c/p>\n\u003cp>Another essay, “Vanilla Cities and Their Chocolate Suburbs: On Resegregation,” discusses the current climate of resegregation; in particular regarding education. Full of sentences that could serve as topics for future books, the essay is driven by statistics. The average white student attends a school that is 75 percent white, Chang writes. He also notes that in 2014, more than 300 school districts across the country were still involved in active desegregation orders dating to the civil rights era, and takes on changing city demographics as a result of evictions and gentrification in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12151214 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg\" alt=\"WGBA.Cover.hires\" width=\"295\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-768x1199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-756x1180.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-1180x1843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-960x1499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_.jpg 1825w\" sizes=\"(max-width: 295px) 100vw, 295px\">\u003c/p>\n\u003cp>“Hands Up: On Ferguson” takes the reader through the intense nights of the Ferguson protests, beginning before Michael Brown was shot and leading the reader through the protests that followed. The essay humanizes both Brown and the protesters, and provides a deeper look into the structural inequities of the city of Ferguson.\u003c/p>\n\u003cp>Finally, Chang’s last essay “The In-Betweens: On Asian Americanness” reads like a spoken-word piece. Written in second person, Chang, himself Asian American, addresses the reader intimately: “You wanted an identity that would not just be a weapon but a tool, something that would not just bludgeon but build, that would not only justify your pain — inherited and accumulated — but let you stay open to the world, let you connect and grow.” I found myself nodding in agreement, feeling as though he was speaking directly to me.\u003c/p>\n\u003cp>Though the essay topics in \u003cem>We Gon’ Be Alright\u003c/em> might be considered somewhat disjointed, they show the myriad ways identity, culture and race are involved in our everyday lives — from educational institutions to cultural icons.\u003c/p>\n\u003cp>\u003ci>\u003cstrong>BONUS VIDEO:\u003c/strong> KQED Newsroom’s Thuy Vu talks with Jeff Chang about his new book and race relations in America. \u003c/i>\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/0JLW0d42Cyc'\n title='//www.youtube.com/embed/0JLW0d42Cyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>More than five months after Prince’s fatal drug overdose, investigators have narrowed their focus to two main questions: whether doctors illegally prescribed opioids meant for the pop star and whether the fentanyl that killed him came from a black-market source, a law enforcement official said.\u003c/p>\n\u003cp>Those lines of inquiry raise the prospect that a doctor or doctors could be charged with writing unlawful prescriptions and that a separate suspect or set of suspects with ties to narcotics trafficking could be charged with supplying the fatal dose.\u003c/p>\n\u003cp>Prince was 57 when he was found April 21 in an elevator at his suburban Minneapolis studio and estate. Authorities have revealed little publicly about their investigation, saying only that the probe is ongoing.\u003c/p>\n\u003cp>The law enforcement official who described the investigation has knowledge of the inquiry but spoke on condition of anonymity because the person was not authorized to comment on the record. The person declined to provide any additional details.\u003c/p>\n\u003cp>Investigations of fatal overdoses can be lengthy and complex, especially when drug traffickers or other underworld figures are involved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ryan Pacyga, a Minneapolis criminal defense attorney who is not connected to the Prince case, said law enforcement is not going to rush unless there is a risk to the public or immediate danger to others.\u003c/p>\n\u003cp>In typical drug cases, investigators will subpoena documents including computer files, emails and financial records. When looking at where the fentanyl came from, they will “follow the money” and look at orders, shipments and the bank accounts or credit cards that made payments, Pacyga said.\u003c/p>\n\u003cp>They will also identify people they want to speak with.\u003c/p>\n\u003cp>“They’ll interview from the bottom up,” Pacyga said. “They’ll talk to the people who really don’t have much criminal exposure and keep working their way up to who they think the big wrongdoers are.”\u003c/p>\n\u003cp>Notable drugs cases are often prosecuted in federal, not state, court.\u003c/p>\n\u003cp>Among the most serious federal charges a person who supplied the fentanyl could face — be it a doctor, trafficker or friend — is opioid distribution resulting in death, which carries a mandatory minimum of 20 years in prison. Under Minnesota law, anyone who gave Prince the fentanyl that killed him could face a potential third-degree murder charge, even if that person did not know the pills contained the drug.\u003c/p>\n\u003cp>Fentanyl, which is 50 times more potent than heroin, can be obtained as a legal painkiller with a prescription. But some findings in Prince’s case point to an illegal source, including evidence that some pills taken from his home after he died were counterfeit drugs that were marked as a generic version of Vicodin but actually contained fentanyl, an official close to the investigation told the AP in August. That official also spoke on condition of anonymity because of the ongoing investigation.\u003c/p>\n\u003cp>Even when it is produced legally by pharmaceutical manufacturers, fentanyl can be obtained illegally in many ways. A doctor can prescribe it to someone who then passes it on to a third person or prescriptions can be forged.\u003c/p>\n\u003cp>The official who spoke in August said Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>Prince had a reputation for clean living, and some friends said they never saw any sign of drug use. But longtime friend and collaborator Sheila E. has said Prince had hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>The death of one of the most influential musicians of the modern era has drawn public attention to a startling increase in fentanyl overdoses. Most of the deaths are linked not to prescriptions but to illicitly made fentanyl pills or fentanyl that has been mixed with and sold as heroin, according to the Centers for Disease Control and Prevention.\u003c/p>\n\u003cp>As little as 2 milligrams of fentanyl can be lethal and those who make it illicitly are not meticulous about how much fentanyl goes in each pill. Traffickers often pass the pills off as Oxycontin or some other name-brand opioid, so, if Prince took a counterfeit pill, he may not have known it contained fentanyl.\u003c/p>\n\u003cp>Determining whether the last person to hand or send the fentanyl to Prince knew it was fentanyl is probably one of the most difficult questions for investigators. Legal experts say evidence of such direct knowledge can be critical, but isn’t necessary, to bring charges.\u003c/p>\n\u003cp>Another possibility is that Prince ordered the drugs himself online. Some online distributors accept orders through dark-net sites, then deliver the drugs by unsuspecting mail-service companies.\u003c/p>\n\u003cp>If traffickers bear responsibility for the fatal fentanyl, identifying them could be difficult, even impossible.\u003c/p>\n\u003cp>The chain of traffickers could include Chinese producers of the raw ingredients of fentanyl and Mexican cartels that transform the drug into pills at clandestine labs. Pill mills also operate in the U.S., the DEA says.\u003c/p>\n\u003cp>Shortly after Prince’s death, authorities said they were looking at whether a doctor supplied him with drugs, similar to how Conrad Murray prescribed the anesthetic propofol to Michael Jackson, contributing to his 2009 death. Murray was charged seven months later, convicted by a California jury of involuntary manslaughter in 2011 and sentenced to four years behind bars. He was released after serving two.\u003c/p>\n\u003cp>Charges against a doctor for writing unnecessary prescriptions to feed someone’s drug habit can quickly stack up. They can include tax evasion if ill-gotten profits are not included on tax returns, as well as wire fraud if any aspect of the crime was conducted over the telephone.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"excerpt": "More than five months after Prince's fatal drug overdose, investigators have narrowed their focus to two questions",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than five months after Prince’s fatal drug overdose, investigators have narrowed their focus to two main questions: whether doctors illegally prescribed opioids meant for the pop star and whether the fentanyl that killed him came from a black-market source, a law enforcement official said.\u003c/p>\n\u003cp>Those lines of inquiry raise the prospect that a doctor or doctors could be charged with writing unlawful prescriptions and that a separate suspect or set of suspects with ties to narcotics trafficking could be charged with supplying the fatal dose.\u003c/p>\n\u003cp>Prince was 57 when he was found April 21 in an elevator at his suburban Minneapolis studio and estate. Authorities have revealed little publicly about their investigation, saying only that the probe is ongoing.\u003c/p>\n\u003cp>The law enforcement official who described the investigation has knowledge of the inquiry but spoke on condition of anonymity because the person was not authorized to comment on the record. The person declined to provide any additional details.\u003c/p>\n\u003cp>Investigations of fatal overdoses can be lengthy and complex, especially when drug traffickers or other underworld figures are involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ryan Pacyga, a Minneapolis criminal defense attorney who is not connected to the Prince case, said law enforcement is not going to rush unless there is a risk to the public or immediate danger to others.\u003c/p>\n\u003cp>In typical drug cases, investigators will subpoena documents including computer files, emails and financial records. When looking at where the fentanyl came from, they will “follow the money” and look at orders, shipments and the bank accounts or credit cards that made payments, Pacyga said.\u003c/p>\n\u003cp>They will also identify people they want to speak with.\u003c/p>\n\u003cp>“They’ll interview from the bottom up,” Pacyga said. “They’ll talk to the people who really don’t have much criminal exposure and keep working their way up to who they think the big wrongdoers are.”\u003c/p>\n\u003cp>Notable drugs cases are often prosecuted in federal, not state, court.\u003c/p>\n\u003cp>Among the most serious federal charges a person who supplied the fentanyl could face — be it a doctor, trafficker or friend — is opioid distribution resulting in death, which carries a mandatory minimum of 20 years in prison. Under Minnesota law, anyone who gave Prince the fentanyl that killed him could face a potential third-degree murder charge, even if that person did not know the pills contained the drug.\u003c/p>\n\u003cp>Fentanyl, which is 50 times more potent than heroin, can be obtained as a legal painkiller with a prescription. But some findings in Prince’s case point to an illegal source, including evidence that some pills taken from his home after he died were counterfeit drugs that were marked as a generic version of Vicodin but actually contained fentanyl, an official close to the investigation told the AP in August. That official also spoke on condition of anonymity because of the ongoing investigation.\u003c/p>\n\u003cp>Even when it is produced legally by pharmaceutical manufacturers, fentanyl can be obtained illegally in many ways. A doctor can prescribe it to someone who then passes it on to a third person or prescriptions can be forged.\u003c/p>\n\u003cp>The official who spoke in August said Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>Prince had a reputation for clean living, and some friends said they never saw any sign of drug use. But longtime friend and collaborator Sheila E. has said Prince had hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>The death of one of the most influential musicians of the modern era has drawn public attention to a startling increase in fentanyl overdoses. Most of the deaths are linked not to prescriptions but to illicitly made fentanyl pills or fentanyl that has been mixed with and sold as heroin, according to the Centers for Disease Control and Prevention.\u003c/p>\n\u003cp>As little as 2 milligrams of fentanyl can be lethal and those who make it illicitly are not meticulous about how much fentanyl goes in each pill. Traffickers often pass the pills off as Oxycontin or some other name-brand opioid, so, if Prince took a counterfeit pill, he may not have known it contained fentanyl.\u003c/p>\n\u003cp>Determining whether the last person to hand or send the fentanyl to Prince knew it was fentanyl is probably one of the most difficult questions for investigators. Legal experts say evidence of such direct knowledge can be critical, but isn’t necessary, to bring charges.\u003c/p>\n\u003cp>Another possibility is that Prince ordered the drugs himself online. Some online distributors accept orders through dark-net sites, then deliver the drugs by unsuspecting mail-service companies.\u003c/p>\n\u003cp>If traffickers bear responsibility for the fatal fentanyl, identifying them could be difficult, even impossible.\u003c/p>\n\u003cp>The chain of traffickers could include Chinese producers of the raw ingredients of fentanyl and Mexican cartels that transform the drug into pills at clandestine labs. Pill mills also operate in the U.S., the DEA says.\u003c/p>\n\u003cp>Shortly after Prince’s death, authorities said they were looking at whether a doctor supplied him with drugs, similar to how Conrad Murray prescribed the anesthetic propofol to Michael Jackson, contributing to his 2009 death. Murray was charged seven months later, convicted by a California jury of involuntary manslaughter in 2011 and sentenced to four years behind bars. He was released after serving two.\u003c/p>\n\u003cp>Charges against a doctor for writing unnecessary prescriptions to feed someone’s drug habit can quickly stack up. They can include tax evasion if ill-gotten profits are not included on tax returns, as well as wire fraud if any aspect of the crime was conducted over the telephone.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>October in the Bay Area signals many shifts: students head back to school; it’s the month we’re most likely to experience temperatures resembling “real” summer; a certain \u003ca href=\"http://www.mccoveychronicles.com/2016/10/2/13142036/sf-giants-clinch-recap\" target=\"_blank\" rel=\"noopener\">up-and-down baseball team\u003c/a> somehow worms its way into the postseason.\u003c/p>\n\u003cp>With the lion’s share of major music festivals in our rearview mirror, fall is also the time when smaller fests and community-oriented parties really shine. And there’s none, perhaps, that’s seeped in fierce local pride quite like the annual \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a>, which takes place in Oakland this year on Saturday, Oct. 8.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2AV0mcg9rXA\u003c/p>\n\u003cp>Now in its ninth year, Life is Living sees West Oakland’s DeFremery Park transformed into an admission-free party with a purpose, in which workshops on social and environmental justice, youth access to arts education, and a celebration of this \u003ca href=\"https://www.youtube.com/watch?v=jXuSL9UsdN8\" target=\"_blank\" rel=\"noopener\">oft-misunderstood neighborhood\u003c/a> all come together against a backdrop of live entertainment by local hip-hop artists and poets from Youth Speaks.\u003c/p>\n\u003cp>This year’s fest promises to be a special one: October 2016 marks the 50th anniversary of the founding of the \u003ca href=\"https://ww2.kqed.org/arts/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a>. The lineup reflects that theme, kicking off with free breakfast at 10am in the “Food Justice Wellness Zone,” and culminating with Oakland’s reigning hip-hop radicals The Coup headlining the main stage at 5pm. Other can’t-miss appearances include a Prince tribute from \u003ca href=\"http://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener\">Ryan Nicole\u003c/a> and \u003ca href=\"https://www.facebook.com/soulmechanix/\" target=\"_blank\" rel=\"noopener\">Soul Mechanix\u003c/a>; traditional Senegalese, Congolese, Haitian and West African dances all day in the “Africa in Oakland” stage; two different sets from Azariah Cole-Shephard, aka Oakland’s \u003ca href=\"http://youthspeaks.org/poetlaureate/\" target=\"_blank\" rel=\"noopener\">2016 Youth Poet Laureate\u003c/a>; live theater from the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a>; and a kids’ zone hosted by \u003ca href=\"http://emilybutterfly.com/\" target=\"_blank\" rel=\"noopener\">Emily Butterfly\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12155325\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg\" alt=\"Ryan Nicole.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12155325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Nicole.\u003c/figcaption>\u003c/figure>\n\u003cp>Also: after years of locals referring to the park as “Little Bobby Hutton Park” to commemorate the \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Hutton\" target=\"_blank\" rel=\"noopener\">young Black Panther shot by police\u003c/a>, the City of Oakland last month \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2016/09/26/town-business-finding-a-new-police-chief-bobby-hutton-grove-saving-oaklands-sros\" target=\"_blank\" rel=\"noopener\">officially dedicated\u003c/a> a portion of the park as “Bobby Hutton Grove.” The rest of October will see a plethora of Black Panther-related events around the Bay Area; watch this space for more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Life is Living Festival’s Tribute to the Black Panthers takes place on Saturday, Oct. 8, at DeFremery Park, 1651 Adeline St., Oakland. 10am–7pm. \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fZ_gFyB6GnA\u003c/p>\n\n",
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"excerpt": "On Saturday, Oct. 8, an annual celebration of all things Oakland honors the Black Panther Party in style — with free breakfast, Youth Speaks poets and The Coup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>October in the Bay Area signals many shifts: students head back to school; it’s the month we’re most likely to experience temperatures resembling “real” summer; a certain \u003ca href=\"http://www.mccoveychronicles.com/2016/10/2/13142036/sf-giants-clinch-recap\" target=\"_blank\" rel=\"noopener\">up-and-down baseball team\u003c/a> somehow worms its way into the postseason.\u003c/p>\n\u003cp>With the lion’s share of major music festivals in our rearview mirror, fall is also the time when smaller fests and community-oriented parties really shine. And there’s none, perhaps, that’s seeped in fierce local pride quite like the annual \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a>, which takes place in Oakland this year on Saturday, Oct. 8.\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/2AV0mcg9rXA'\n title='//www.youtube.com/embed/2AV0mcg9rXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now in its ninth year, Life is Living sees West Oakland’s DeFremery Park transformed into an admission-free party with a purpose, in which workshops on social and environmental justice, youth access to arts education, and a celebration of this \u003ca href=\"https://www.youtube.com/watch?v=jXuSL9UsdN8\" target=\"_blank\" rel=\"noopener\">oft-misunderstood neighborhood\u003c/a> all come together against a backdrop of live entertainment by local hip-hop artists and poets from Youth Speaks.\u003c/p>\n\u003cp>This year’s fest promises to be a special one: October 2016 marks the 50th anniversary of the founding of the \u003ca href=\"https://ww2.kqed.org/arts/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a>. The lineup reflects that theme, kicking off with free breakfast at 10am in the “Food Justice Wellness Zone,” and culminating with Oakland’s reigning hip-hop radicals The Coup headlining the main stage at 5pm. Other can’t-miss appearances include a Prince tribute from \u003ca href=\"http://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener\">Ryan Nicole\u003c/a> and \u003ca href=\"https://www.facebook.com/soulmechanix/\" target=\"_blank\" rel=\"noopener\">Soul Mechanix\u003c/a>; traditional Senegalese, Congolese, Haitian and West African dances all day in the “Africa in Oakland” stage; two different sets from Azariah Cole-Shephard, aka Oakland’s \u003ca href=\"http://youthspeaks.org/poetlaureate/\" target=\"_blank\" rel=\"noopener\">2016 Youth Poet Laureate\u003c/a>; live theater from the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a>; and a kids’ zone hosted by \u003ca href=\"http://emilybutterfly.com/\" target=\"_blank\" rel=\"noopener\">Emily Butterfly\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12155325\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg\" alt=\"Ryan Nicole.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12155325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Nicole.\u003c/figcaption>\u003c/figure>\n\u003cp>Also: after years of locals referring to the park as “Little Bobby Hutton Park” to commemorate the \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Hutton\" target=\"_blank\" rel=\"noopener\">young Black Panther shot by police\u003c/a>, the City of Oakland last month \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2016/09/26/town-business-finding-a-new-police-chief-bobby-hutton-grove-saving-oaklands-sros\" target=\"_blank\" rel=\"noopener\">officially dedicated\u003c/a> a portion of the park as “Bobby Hutton Grove.” The rest of October will see a plethora of Black Panther-related events around the Bay Area; watch this space for more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life is Living Festival’s Tribute to the Black Panthers takes place on Saturday, Oct. 8, at DeFremery Park, 1651 Adeline St., Oakland. 10am–7pm. \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>. \u003c/em>\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/fZ_gFyB6GnA'\n title='//www.youtube.com/embed/fZ_gFyB6GnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Art and Psychiatry On Trial: The Strange Case of Pierce v. Oremland",
"headTitle": "Art and Psychiatry On Trial: The Strange Case of Pierce v. Oremland | KQED",
"content": "\u003cp>When he died earlier this year, Dr. Jerome D. Oremland was hailed as a leading Bay Area psychiatrist, an art collector and the author of multiple books exploring the overlapping realms of art and psychology.\u003c/p>\n\u003cp>Now, his estate is embroiled in a malpractice lawsuit set for trial Oct. 3 in the San Francisco Superior Court. The suit claims Oremland violated professional boundaries and induced a patient, John Pierce, to give him at least a dozen rare works of art by masters such as French modernist Henri Matisse and Italian Renaissance artist Raphael.\u003c/p>\n\u003cfigure id=\"attachment_12151605\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151605\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg\" alt=\"Henri Matisse, 'Nu debout,' 1904.\" width=\"520\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-414x600.jpg 414w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Nu debout,’ 1904. \u003ccite>(Recorded in the Henri Matisse Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce’s lawsuit, filed in 2015 before the psychiatrist died, also claims Oremland improperly used his patient as a private detective to conduct “unsavory” investigations, as a handyman to clean his swimming pool, and as “essentially a personal servant,” before manipulating Pierce in an attempt to cover up his allegedly unethical use of a vulnerable patient.\u003c/p>\n\u003cp>In court records, lawyers for Oremland’s estate deny the allegations. They say the patient consented to any business dealings he may have had with Oremland, and any art he gave the doctor was given willingly as payment for psychiatric treatment.\u003c/p>\n\u003ch3>The patient and the psychiatrist\u003c/h3>\n\u003cp>Pierce, the lawsuit says, had a history of psychological difficulties and several hospitalizations before he began intensive therapy with Oremland in 1984.\u003c/p>\n\u003cfigure id=\"attachment_12151608\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Pierce.jpg\" alt=\"John Pierce\" width=\"334\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce-313x600.jpg 313w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003cfigcaption class=\"wp-caption-text\">John Pierce. (Photo courtesy John Pierce)\u003c/figcaption>\u003c/figure>\n\u003cp>Oremland was a prominent psychiatrist with a “regal manner,” a “Renaissance man” known for opulent soirees at his Sausalito home and his exacting standards in all things, the \u003cem>San Francisco Chronicle\u003c/em> reported in \u003ca href=\"http://www.sfgate.com/bayarea/article/Dr-Jerome-Oremland-noted-Bay-Area-psychiatrist-6864140.php\" target=\"_blank\" rel=\"noopener\">an obituary\u003c/a> published upon Oremland’s death in February 2016. He died from cancer at age 87.\u003c/p>\n\u003caside class=\"pullquote alignright\">Pierce and Oremland met three times a week for 26 years.\u003c/aside>\n\u003cp>In addition to his private practice, Oremland had served as chief of psychiatry at Children’s Hospital in San Francisco and taught clinical psychiatry at UCSF. His interest in the arts led him to write a novel titled \u003ci>\u003ca href=\"https://www.amazon.com/Man-Who-Killed-Caravaggio/dp/1426960883/ref=sr_1_1?s=books&ie=UTF8&qid=1475098069&sr=1-1\" target=\"_blank\" rel=\"noopener\">The Man Who Killed Caravaggio\u003c/a>\u003c/i>, about the Italian painter, and the nonfiction book \u003cem>Michelangelo’s Sistine Ceiling: A Psychoanalytic Study of Creativity\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pierce and Oremland met three times a week for 26 years, before gradually reducing the sessions and ending them altogether in mid-2014. Meanwhile, Pierce was a successful building contractor and, like Oremland, collected art.\u003c/p>\n\u003cp>But along the way, the lawsuit claims, Oremland also breached professional boundaries and exploited a vulnerable patient for his own gain.\u003c/p>\n\u003ch3>Trading art for therapy\u003c/h3>\n\u003cp>Pierce, now 67, says in court papers that during therapy sessions with the psychiatrist, he was induced to give Oremland a dozen “high end” art works, including paintings by Matisse, Luca Giordano, Nicolaes Maes and Ferdinand Bol; drawings by Raphael, Joan Miró and Edvard Munch; and a bust of Egon Schiele.\u003c/p>\n\u003cfigure id=\"attachment_12151609\" class=\"wp-caption aligncenter\" style=\"max-width: 535px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151609\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Schiele.jpg\" alt=\"Bust of Egon Schiele\" width=\"535\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele.jpg 535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-453x600.jpg 453w\" sizes=\"(max-width: 535px) 100vw, 535px\">\u003cfigcaption class=\"wp-caption-text\">Bust of Egon Schiele\u003c/figcaption>\u003c/figure>\n\u003cp>During one session, he claims, the psychiatrist convinced Pierce to buy 12 rare David Park woodcuts titled \u003cem>Genesis\u003c/em>, and to give him eight of them.\u003c/p>\n\u003caside class=\"pullquote alignright\">The lawsuit claims Oremland received the artwork at a “fraction” of its value.\u003c/aside>\n\u003cp>Oremland also allegedly “cajoled” Pierce into convincing a friend to sell a rare Albrecht Dürer book, \u003cem>The Little Passion\u003c/em>, to a socialite who was also one of Oremland’s patients. As a commission on the $15,000 sale, the lawsuit claims, Oremland received an old master print. (The lawsuit does not specify the artist.)\u003c/p>\n\u003cp>Although the art was supposedly payment for therapy, the lawsuit claims, Oremland used many of their sessions to solicit art, propose financial schemes and discuss other subjects unrelated to treatment.\u003c/p>\n\u003cp>Geoffrey Spellberg, Pierce’s attorney, said in an interview that the lawsuit claims Oremland received the artwork at a “fraction” of its value and “basically stole it under the guise of providing psychotherapy.”\u003c/p>\n\u003cp>David Shuey and Lisa Ungerer, attorneys for Oremland’s estate, did not respond to requests for comment.\u003c/p>\n\u003ch3>Drawing the line\u003c/h3>\n\u003cp>The American Psychiatric Association’s ethics guidelines warn psychiatrists to respect professional boundaries, because patients “may be especially vulnerable to undue influences.” The APA continues: “the psychiatrist should be sensitive and careful that his/her conduct does not physically, sexually, psychologically, spiritually or financially exploit or harm the patient.”\u003c/p>\n\u003cp>In an interview, Dr. Charles Dike, a member of the APA ethics committee and assistant professor of psychiatry at Yale University, declined comment on the Orlemand lawsuit specifically. He noted that sexual relations with current and former patients are strictly prohibited, and that other involvements outside the therapeutic relationship — such as business dealings, accepting gifts and bartering goods for treatment — are strongly discouraged because they can likewise undermine therapy and lead to exploitation.\u003c/p>\n\u003cfigure id=\"attachment_12151607\" class=\"wp-caption aligncenter\" style=\"max-width: 559px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151607 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg\" alt=\"Joan Miró, 'Femme et oiseau dans la nuit,' 1972.\" width=\"559\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-444x600.jpg 444w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003cfigcaption class=\"wp-caption-text\">Joan Miró, ‘Femme et oiseau dans la nuit,’ 1972.\u003c/figcaption>\u003c/figure>\n\u003cp>The frequency of such boundary violations is unknown. \u003cem>Current Psychiatry\u003c/em>, a professional journal, reported in 2008 that an estimated 6 to 10 percent of psychiatrists engaged in sexual relationships with patients. Other kinds of boundary violations occur more often, the journal said.\u003c/p>\n\u003cp>The article concluded, “Don’t foster dependence, use patients for your own gratification, have extra-therapeutic contact, or accept gifts or services from patients.”\u003c/p>\n\u003ch3>Private investigations\u003c/h3>\n\u003cp>The lawsuit maintains Orlemand extracted more than just art from Pierce. During several sessions, the lawsuit claims, Oremland led him to invest in the Cascade Acceptance Corporation, an investment firm with which Oremland had a relationship. Pierce did so, it says, and lost about $350,000.\u003c/p>\n\u003cp>The psychiatrist also allegedly persuaded Pierce, a licensed private detective, to conduct various investigations, some involving other patients.\u003c/p>\n\u003caside class=\"pullquote alignright\">Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool.\u003c/aside>\n\u003cp>In one instance, Oremland allegedly revealed to Pierce that another patient was concerned about mysterious charges to the credit card of her husband. At Oremland’s request, Pierce investigated and confirmed the charges were from a “lap dancing establishment,” the lawsuit says.\u003c/p>\n\u003cp>The lawsuit does not identify the patient or her husband.\u003c/p>\n\u003cp>Oremland also prevailed upon Pierce to investigate the man who was to marry his youngest daughter, the lawsuit says.\u003c/p>\n\u003cp>Pierce’s lawsuit claims Oremland used him as “essentially a personal servant.” In a court declaration, he said, “It was common during a therapy session for Dr. Oremland to interrupt the therapy and give me direction as to what work he wanted me to perform.”\u003c/p>\n\u003cp>Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool — work the lawsuit values at $200,000.\u003c/p>\n\u003cp>The psychiatrist sometimes invited him to parties for the San Francisco Ballet, the lawsuit says, where he became obligated to make contributions.\u003c/p>\n\u003cp>All the while, Oremland failed to maintain professional objectivity and misdiagnosed Pierce, the lawsuit claims, telling him at one point that he “suffered from bad thoughts” but “I love you.”\u003c/p>\n\u003ch3>‘Legitimate Payment for Therapy’\u003c/h3>\n\u003cp>In 2012, Oremland allegedly moved to cover up his exploitation of Pierce by drafting a statement for Pierce to sign that said the psychiatrist had acted only in Pierce’s interests. A copy of the statement filed in court says, “In summary, Dr. Oremland, he has never profited from our relationship in any way other than the professional fees I pay him.” Pierce claims that Oremland coerced him to sign it.\u003c/p>\n\u003caside class=\"pullquote alignright\">The estate denies Pierce is owed anything.\u003c/aside>\n\u003cp>In the lawsuit, Pierce demands the return of the artwork, compensation for his work, and repayment of fees he paid Oremland. The estate denies Pierce is owed anything.\u003c/p>\n\u003cp>In court records, John D. Teter, the executor of Oremland’s estate, insists that any transfers of art from Pierce to the psychiatrist were legitimate payment for therapy; he further denies that Pierce was injured. Teter did not respond to a request for comment.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld, formerly a staff reporter for the \u003c/em>San Francisco Chronicle\u003cem>, is a San Francisco-based freelance journalist whose work has appeared in the \u003c/em>New York Times\u003cem>, the \u003c/em>Los Angeles Times\u003cem> and \u003c/em>Harper’s Magazine\u003cem>, among other publications. He is the author of \u003c/em>Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he died earlier this year, Dr. Jerome D. Oremland was hailed as a leading Bay Area psychiatrist, an art collector and the author of multiple books exploring the overlapping realms of art and psychology.\u003c/p>\n\u003cp>Now, his estate is embroiled in a malpractice lawsuit set for trial Oct. 3 in the San Francisco Superior Court. The suit claims Oremland violated professional boundaries and induced a patient, John Pierce, to give him at least a dozen rare works of art by masters such as French modernist Henri Matisse and Italian Renaissance artist Raphael.\u003c/p>\n\u003cfigure id=\"attachment_12151605\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151605\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg\" alt=\"Henri Matisse, 'Nu debout,' 1904.\" width=\"520\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-414x600.jpg 414w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Nu debout,’ 1904. \u003ccite>(Recorded in the Henri Matisse Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce’s lawsuit, filed in 2015 before the psychiatrist died, also claims Oremland improperly used his patient as a private detective to conduct “unsavory” investigations, as a handyman to clean his swimming pool, and as “essentially a personal servant,” before manipulating Pierce in an attempt to cover up his allegedly unethical use of a vulnerable patient.\u003c/p>\n\u003cp>In court records, lawyers for Oremland’s estate deny the allegations. They say the patient consented to any business dealings he may have had with Oremland, and any art he gave the doctor was given willingly as payment for psychiatric treatment.\u003c/p>\n\u003ch3>The patient and the psychiatrist\u003c/h3>\n\u003cp>Pierce, the lawsuit says, had a history of psychological difficulties and several hospitalizations before he began intensive therapy with Oremland in 1984.\u003c/p>\n\u003cfigure id=\"attachment_12151608\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Pierce.jpg\" alt=\"John Pierce\" width=\"334\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce-313x600.jpg 313w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003cfigcaption class=\"wp-caption-text\">John Pierce. (Photo courtesy John Pierce)\u003c/figcaption>\u003c/figure>\n\u003cp>Oremland was a prominent psychiatrist with a “regal manner,” a “Renaissance man” known for opulent soirees at his Sausalito home and his exacting standards in all things, the \u003cem>San Francisco Chronicle\u003c/em> reported in \u003ca href=\"http://www.sfgate.com/bayarea/article/Dr-Jerome-Oremland-noted-Bay-Area-psychiatrist-6864140.php\" target=\"_blank\" rel=\"noopener\">an obituary\u003c/a> published upon Oremland’s death in February 2016. He died from cancer at age 87.\u003c/p>\n\u003caside class=\"pullquote alignright\">Pierce and Oremland met three times a week for 26 years.\u003c/aside>\n\u003cp>In addition to his private practice, Oremland had served as chief of psychiatry at Children’s Hospital in San Francisco and taught clinical psychiatry at UCSF. His interest in the arts led him to write a novel titled \u003ci>\u003ca href=\"https://www.amazon.com/Man-Who-Killed-Caravaggio/dp/1426960883/ref=sr_1_1?s=books&ie=UTF8&qid=1475098069&sr=1-1\" target=\"_blank\" rel=\"noopener\">The Man Who Killed Caravaggio\u003c/a>\u003c/i>, about the Italian painter, and the nonfiction book \u003cem>Michelangelo’s Sistine Ceiling: A Psychoanalytic Study of Creativity\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pierce and Oremland met three times a week for 26 years, before gradually reducing the sessions and ending them altogether in mid-2014. Meanwhile, Pierce was a successful building contractor and, like Oremland, collected art.\u003c/p>\n\u003cp>But along the way, the lawsuit claims, Oremland also breached professional boundaries and exploited a vulnerable patient for his own gain.\u003c/p>\n\u003ch3>Trading art for therapy\u003c/h3>\n\u003cp>Pierce, now 67, says in court papers that during therapy sessions with the psychiatrist, he was induced to give Oremland a dozen “high end” art works, including paintings by Matisse, Luca Giordano, Nicolaes Maes and Ferdinand Bol; drawings by Raphael, Joan Miró and Edvard Munch; and a bust of Egon Schiele.\u003c/p>\n\u003cfigure id=\"attachment_12151609\" class=\"wp-caption aligncenter\" style=\"max-width: 535px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151609\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Schiele.jpg\" alt=\"Bust of Egon Schiele\" width=\"535\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele.jpg 535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-453x600.jpg 453w\" sizes=\"(max-width: 535px) 100vw, 535px\">\u003cfigcaption class=\"wp-caption-text\">Bust of Egon Schiele\u003c/figcaption>\u003c/figure>\n\u003cp>During one session, he claims, the psychiatrist convinced Pierce to buy 12 rare David Park woodcuts titled \u003cem>Genesis\u003c/em>, and to give him eight of them.\u003c/p>\n\u003caside class=\"pullquote alignright\">The lawsuit claims Oremland received the artwork at a “fraction” of its value.\u003c/aside>\n\u003cp>Oremland also allegedly “cajoled” Pierce into convincing a friend to sell a rare Albrecht Dürer book, \u003cem>The Little Passion\u003c/em>, to a socialite who was also one of Oremland’s patients. As a commission on the $15,000 sale, the lawsuit claims, Oremland received an old master print. (The lawsuit does not specify the artist.)\u003c/p>\n\u003cp>Although the art was supposedly payment for therapy, the lawsuit claims, Oremland used many of their sessions to solicit art, propose financial schemes and discuss other subjects unrelated to treatment.\u003c/p>\n\u003cp>Geoffrey Spellberg, Pierce’s attorney, said in an interview that the lawsuit claims Oremland received the artwork at a “fraction” of its value and “basically stole it under the guise of providing psychotherapy.”\u003c/p>\n\u003cp>David Shuey and Lisa Ungerer, attorneys for Oremland’s estate, did not respond to requests for comment.\u003c/p>\n\u003ch3>Drawing the line\u003c/h3>\n\u003cp>The American Psychiatric Association’s ethics guidelines warn psychiatrists to respect professional boundaries, because patients “may be especially vulnerable to undue influences.” The APA continues: “the psychiatrist should be sensitive and careful that his/her conduct does not physically, sexually, psychologically, spiritually or financially exploit or harm the patient.”\u003c/p>\n\u003cp>In an interview, Dr. Charles Dike, a member of the APA ethics committee and assistant professor of psychiatry at Yale University, declined comment on the Orlemand lawsuit specifically. He noted that sexual relations with current and former patients are strictly prohibited, and that other involvements outside the therapeutic relationship — such as business dealings, accepting gifts and bartering goods for treatment — are strongly discouraged because they can likewise undermine therapy and lead to exploitation.\u003c/p>\n\u003cfigure id=\"attachment_12151607\" class=\"wp-caption aligncenter\" style=\"max-width: 559px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151607 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg\" alt=\"Joan Miró, 'Femme et oiseau dans la nuit,' 1972.\" width=\"559\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-444x600.jpg 444w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003cfigcaption class=\"wp-caption-text\">Joan Miró, ‘Femme et oiseau dans la nuit,’ 1972.\u003c/figcaption>\u003c/figure>\n\u003cp>The frequency of such boundary violations is unknown. \u003cem>Current Psychiatry\u003c/em>, a professional journal, reported in 2008 that an estimated 6 to 10 percent of psychiatrists engaged in sexual relationships with patients. Other kinds of boundary violations occur more often, the journal said.\u003c/p>\n\u003cp>The article concluded, “Don’t foster dependence, use patients for your own gratification, have extra-therapeutic contact, or accept gifts or services from patients.”\u003c/p>\n\u003ch3>Private investigations\u003c/h3>\n\u003cp>The lawsuit maintains Orlemand extracted more than just art from Pierce. During several sessions, the lawsuit claims, Oremland led him to invest in the Cascade Acceptance Corporation, an investment firm with which Oremland had a relationship. Pierce did so, it says, and lost about $350,000.\u003c/p>\n\u003cp>The psychiatrist also allegedly persuaded Pierce, a licensed private detective, to conduct various investigations, some involving other patients.\u003c/p>\n\u003caside class=\"pullquote alignright\">Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool.\u003c/aside>\n\u003cp>In one instance, Oremland allegedly revealed to Pierce that another patient was concerned about mysterious charges to the credit card of her husband. At Oremland’s request, Pierce investigated and confirmed the charges were from a “lap dancing establishment,” the lawsuit says.\u003c/p>\n\u003cp>The lawsuit does not identify the patient or her husband.\u003c/p>\n\u003cp>Oremland also prevailed upon Pierce to investigate the man who was to marry his youngest daughter, the lawsuit says.\u003c/p>\n\u003cp>Pierce’s lawsuit claims Oremland used him as “essentially a personal servant.” In a court declaration, he said, “It was common during a therapy session for Dr. Oremland to interrupt the therapy and give me direction as to what work he wanted me to perform.”\u003c/p>\n\u003cp>Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool — work the lawsuit values at $200,000.\u003c/p>\n\u003cp>The psychiatrist sometimes invited him to parties for the San Francisco Ballet, the lawsuit says, where he became obligated to make contributions.\u003c/p>\n\u003cp>All the while, Oremland failed to maintain professional objectivity and misdiagnosed Pierce, the lawsuit claims, telling him at one point that he “suffered from bad thoughts” but “I love you.”\u003c/p>\n\u003ch3>‘Legitimate Payment for Therapy’\u003c/h3>\n\u003cp>In 2012, Oremland allegedly moved to cover up his exploitation of Pierce by drafting a statement for Pierce to sign that said the psychiatrist had acted only in Pierce’s interests. A copy of the statement filed in court says, “In summary, Dr. Oremland, he has never profited from our relationship in any way other than the professional fees I pay him.” Pierce claims that Oremland coerced him to sign it.\u003c/p>\n\u003caside class=\"pullquote alignright\">The estate denies Pierce is owed anything.\u003c/aside>\n\u003cp>In the lawsuit, Pierce demands the return of the artwork, compensation for his work, and repayment of fees he paid Oremland. The estate denies Pierce is owed anything.\u003c/p>\n\u003cp>In court records, John D. Teter, the executor of Oremland’s estate, insists that any transfers of art from Pierce to the psychiatrist were legitimate payment for therapy; he further denies that Pierce was injured. Teter did not respond to a request for comment.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld, formerly a staff reporter for the \u003c/em>San Francisco Chronicle\u003cem>, is a San Francisco-based freelance journalist whose work has appeared in the \u003c/em>New York Times\u003cem>, the \u003c/em>Los Angeles Times\u003cem> and \u003c/em>Harper’s Magazine\u003cem>, among other publications. He is the author of \u003c/em>Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Man Who Got Generations to Sing Oscar Mayer Wiener Song Dies",
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"content": "\u003cp>The man who got generations of hot dog lovers singing along to the Oscar Mayer Wiener song has died.\u003c/p>\n\u003cp>Richard Trentlage died Sept. 21 in Libertyville, Illinois, at the age of 87, according to an obituary posted online by a northern Illinois funeral home.\u003c/p>\n\u003cp>With the words, “Oh, I wish I were an Oscar Mayer wiener,” Trentlage helped solidify the company’s hot dogs as a piece of Americana. The jingle he wrote appeared in a 1960s television commercial featuring cartoon children marching along and singing. The tune remained a fixture for the next half a century.\u003c/p>\n\u003cp>Trentlage was born in Chicago and began penning jingles as a high school student, starting with one about a fictional company he called Modern Plastic Brooms. The idea was to dream up a believable sponsor for a school talent show and sing the jingle during commercial breaks in a performance modeled after a radio program.\u003c/p>\n\u003cp>The Modern Plastic Broom jingle was evidently so memorable that his former classmates sang it during a 50th reunion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trentlage transformed his living room into a makeshift recording studio, inviting his own children to sing on audition tapes. His children even recorded “on-air” sessions.\u003c/p>\n\u003cp>“We were always getting out of school to hop a train and meet our dad at a Chicago recording studio,” his daughter, Linda Bruun, recalled in the funeral home obituary.\u003c/p>\n\u003cp>Trentlage was no one-hit wonder. He also wrote “WOW! It sure doesn’t taste like tomato juice” for V8, “Buckle up for safety, buckle up!” for the National Safety Council and “McDonald’s is your kind of place!” for the burger chain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The man who got generations of hot dog lovers singing along to the Oscar Mayer Wiener song has died.\u003c/p>\n\u003cp>Richard Trentlage died Sept. 21 in Libertyville, Illinois, at the age of 87, according to an obituary posted online by a northern Illinois funeral home.\u003c/p>\n\u003cp>With the words, “Oh, I wish I were an Oscar Mayer wiener,” Trentlage helped solidify the company’s hot dogs as a piece of Americana. The jingle he wrote appeared in a 1960s television commercial featuring cartoon children marching along and singing. The tune remained a fixture for the next half a century.\u003c/p>\n\u003cp>Trentlage was born in Chicago and began penning jingles as a high school student, starting with one about a fictional company he called Modern Plastic Brooms. The idea was to dream up a believable sponsor for a school talent show and sing the jingle during commercial breaks in a performance modeled after a radio program.\u003c/p>\n\u003cp>The Modern Plastic Broom jingle was evidently so memorable that his former classmates sang it during a 50th reunion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trentlage transformed his living room into a makeshift recording studio, inviting his own children to sing on audition tapes. His children even recorded “on-air” sessions.\u003c/p>\n\u003cp>“We were always getting out of school to hop a train and meet our dad at a Chicago recording studio,” his daughter, Linda Bruun, recalled in the funeral home obituary.\u003c/p>\n\u003cp>Trentlage was no one-hit wonder. He also wrote “WOW! It sure doesn’t taste like tomato juice” for V8, “Buckle up for safety, buckle up!” for the National Safety Council and “McDonald’s is your kind of place!” for the burger chain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-flash-mob-in-san-francisco-with-a-shining-star-of-flamenco",
"title": "A Flash Mob in San Francisco with a Shining Star of Flamenco",
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"headTitle": "A Flash Mob in San Francisco with a Shining Star of Flamenco | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/285304383″ 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>\u003ca href=\"http://www.farruquito.eu/en/\" target=\"_blank\" rel=\"noopener\">Farruquito \u003c/a>is such a big deal in the world of flamenco, that like Beyoncé or Sting, he goes by just one name. He’s tall, dark and sexy. And he moves, \u003ca href=\"http://www.nytimes.com/2016/03/12/arts/dance/review-farruquito-flamenco-from-a-soaring-eagle.html\" target=\"_blank\" rel=\"noopener\">one critic wrote, like an eagle in flight.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11364719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s fascinating to see Farruquito, born Juan Manuel Fernández Montoya, slow his dancing down in the video he made a few months ago to demonstrate the choreography for a series of flash mobs staged first at the \u003ca href=\"http://www.labienal.com/en/\" target=\"_blank\" rel=\"noopener\">Biennial of Flamenco in Sevilla\u003c/a> in early September, and \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">this week in San Francisco\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-K6vj12-Tc\u003c/p>\n\u003cp>“Is everybody excited,” asked Nina Menendez, founder and director of the\u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\"> Bay Area Flamenco Festival\u003c/a>, of the 15 people attending a rehearsal last week for a flash mob scheduled for Friday, Sep. 30, at 6pm in UN Plaza, ahead of a performance by Farruquito on Saturday, Oct. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Whoo-hoo” came the the reply, as people stripped off layers of clothes, and spread out before the wall length mirror at \u003ca href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance Studios\u003c/a>.\u003c/p>\n\u003cp>The students were a pretty sophisticated group of amateurs; many have been dancing flamenco for years, and most had seen Farruquito perform at least once.\u003c/p>\n\u003cp>“It’s almost like he keeps you guessing,” said Daniel Genera, probably the oldest student and definitely the only man in the group. “You don’t know what he’ll do next. It’s wild, but it’s very controlled and clean. And that’s what I love about it.”\u003c/p>\n\u003cfigure id=\"attachment_12131484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131484\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/024-800x495.jpg\" alt=\"Daniel Genera prepares for a Farruquito flamenco flashmob\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Genera prepares for a Farruquito flamenco flash mob \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Genera stayed in the back row, his eyes on the mirror and rehearsal leader\u003ca href=\"http://aguaclaraflamenco.com/\" target=\"_blank\" rel=\"noopener\"> Clara Rodriguez\u003c/a>. She’s a longtime Bay Area flamenco teacher, who pulled up her skirt, in a classic Flamenco pose, to show off her footwork.\u003c/p>\n\u003cp>When I asked Rodriguez about the prospect of dancing with Farruquito, she sounded almost giddy, “I’m so excited. He’s been like my idol forever.”\u003c/p>\n\u003cp>Farruquito makes it all look so easy in the video, but everyone struggled at first to master the quick skips, the arching arms, the sudden weight shifts and leaps he demonstrated.\u003c/p>\n\u003cp>“I know it’s hard,” Rodriguez assured the group. “Don’t get scared.”\u003c/p>\n\u003cfigure id=\"attachment_12131677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg\" alt=\"Clara Rodriguez leads the flash mob rehearsal\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1180x705.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1920x1147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-960x574.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara Rodriguez leads the flash mob rehearsal \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And 30 minutes of sweat-inducing work later, the dancers had gained some confidence, and the clapping and foot work became more coordinated.\u003c/p>\n\u003cp>“We’re getting it, we’re getting it,” Rodriguez encouraged. “It’s the hardest step in the whole piece, so don’t go ‘Oh my God.’ It took me a whole week to figure it out. Try it again.”\u003c/p>\n\u003cp>Finally, at about 11pm, Rodriguez led two complete run-throughs of the almost 4-minute dance, and then ended the rehearsal.\u003c/p>\n\u003cp>As they gulped down tea from a thermos, I talked with the dancers about why they love flamenco so much. For Clara De Bece, it’s the inclusiveness, “Everyone is welcome,” she said, even people who don’t fit a certain body type, or carry a bit more weight than, say, the average ballet student.”\u003c/p>\n\u003cp>“I have classmates,” De Bece said, “who are like 70 years old and they’re dancing and they look great. And you can express yourself no matter what stage of your life you’re in. You don’t have to be anybody else. You can have your own style. With this type of dance.”\u003c/p>\n\u003cp>De Bece and Genera are Mexican-American, and I discovered that many in the class are immigrants from Spain or Latin America, drawn to a dance style that melds Romani, Spanish, North African, Sephardic and even Indian traditions.\u003c/p>\n\u003cfigure id=\"attachment_12131876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131876\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg\" alt=\"The dancers are getting the hang of Farruquitos choreography\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-960x626.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dancers are getting the hang of Farruquitos choreography \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from Argentina with Armenian roots,” Micaela Nerguizian told me, “and Flamenco captures the Latin and the Middle eastern in me.”\u003c/p>\n\u003cp>Nerguizian has been dancing flamenco for 8 years, but she said she doesn’t worry too much about technique.\u003c/p>\n\u003cp>“I’m here to have fun,” Nerguizuizian said. “That’s the most important part of all. It’s really about feeling it inside you…and just dancing your heart out.”\u003c/p>\n\u003cp>Watching the rehearsal, I knew I couldn’t have put more than two steps together without forgetting what’s next. But “in flamenco,” Rodriguez said, “it’s not about how much you can do, but what you do with what you already have.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good advice for anyone still thinking about joining the \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">flashmob on Friday.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/285304383″&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/285304383″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.farruquito.eu/en/\" target=\"_blank\" rel=\"noopener\">Farruquito \u003c/a>is such a big deal in the world of flamenco, that like Beyoncé or Sting, he goes by just one name. He’s tall, dark and sexy. And he moves, \u003ca href=\"http://www.nytimes.com/2016/03/12/arts/dance/review-farruquito-flamenco-from-a-soaring-eagle.html\" target=\"_blank\" rel=\"noopener\">one critic wrote, like an eagle in flight.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11364719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s fascinating to see Farruquito, born Juan Manuel Fernández Montoya, slow his dancing down in the video he made a few months ago to demonstrate the choreography for a series of flash mobs staged first at the \u003ca href=\"http://www.labienal.com/en/\" target=\"_blank\" rel=\"noopener\">Biennial of Flamenco in Sevilla\u003c/a> in early September, and \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">this week in San Francisco\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s-K6vj12-Tc'\n title='//www.youtube.com/embed/s-K6vj12-Tc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Is everybody excited,” asked Nina Menendez, founder and director of the\u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\"> Bay Area Flamenco Festival\u003c/a>, of the 15 people attending a rehearsal last week for a flash mob scheduled for Friday, Sep. 30, at 6pm in UN Plaza, ahead of a performance by Farruquito on Saturday, Oct. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Whoo-hoo” came the the reply, as people stripped off layers of clothes, and spread out before the wall length mirror at \u003ca href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance Studios\u003c/a>.\u003c/p>\n\u003cp>The students were a pretty sophisticated group of amateurs; many have been dancing flamenco for years, and most had seen Farruquito perform at least once.\u003c/p>\n\u003cp>“It’s almost like he keeps you guessing,” said Daniel Genera, probably the oldest student and definitely the only man in the group. “You don’t know what he’ll do next. It’s wild, but it’s very controlled and clean. And that’s what I love about it.”\u003c/p>\n\u003cfigure id=\"attachment_12131484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131484\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/024-800x495.jpg\" alt=\"Daniel Genera prepares for a Farruquito flamenco flashmob\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Genera prepares for a Farruquito flamenco flash mob \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Genera stayed in the back row, his eyes on the mirror and rehearsal leader\u003ca href=\"http://aguaclaraflamenco.com/\" target=\"_blank\" rel=\"noopener\"> Clara Rodriguez\u003c/a>. She’s a longtime Bay Area flamenco teacher, who pulled up her skirt, in a classic Flamenco pose, to show off her footwork.\u003c/p>\n\u003cp>When I asked Rodriguez about the prospect of dancing with Farruquito, she sounded almost giddy, “I’m so excited. He’s been like my idol forever.”\u003c/p>\n\u003cp>Farruquito makes it all look so easy in the video, but everyone struggled at first to master the quick skips, the arching arms, the sudden weight shifts and leaps he demonstrated.\u003c/p>\n\u003cp>“I know it’s hard,” Rodriguez assured the group. “Don’t get scared.”\u003c/p>\n\u003cfigure id=\"attachment_12131677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg\" alt=\"Clara Rodriguez leads the flash mob rehearsal\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1180x705.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1920x1147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-960x574.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara Rodriguez leads the flash mob rehearsal \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And 30 minutes of sweat-inducing work later, the dancers had gained some confidence, and the clapping and foot work became more coordinated.\u003c/p>\n\u003cp>“We’re getting it, we’re getting it,” Rodriguez encouraged. “It’s the hardest step in the whole piece, so don’t go ‘Oh my God.’ It took me a whole week to figure it out. Try it again.”\u003c/p>\n\u003cp>Finally, at about 11pm, Rodriguez led two complete run-throughs of the almost 4-minute dance, and then ended the rehearsal.\u003c/p>\n\u003cp>As they gulped down tea from a thermos, I talked with the dancers about why they love flamenco so much. For Clara De Bece, it’s the inclusiveness, “Everyone is welcome,” she said, even people who don’t fit a certain body type, or carry a bit more weight than, say, the average ballet student.”\u003c/p>\n\u003cp>“I have classmates,” De Bece said, “who are like 70 years old and they’re dancing and they look great. And you can express yourself no matter what stage of your life you’re in. You don’t have to be anybody else. You can have your own style. With this type of dance.”\u003c/p>\n\u003cp>De Bece and Genera are Mexican-American, and I discovered that many in the class are immigrants from Spain or Latin America, drawn to a dance style that melds Romani, Spanish, North African, Sephardic and even Indian traditions.\u003c/p>\n\u003cfigure id=\"attachment_12131876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131876\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg\" alt=\"The dancers are getting the hang of Farruquitos choreography\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-960x626.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dancers are getting the hang of Farruquitos choreography \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from Argentina with Armenian roots,” Micaela Nerguizian told me, “and Flamenco captures the Latin and the Middle eastern in me.”\u003c/p>\n\u003cp>Nerguizian has been dancing flamenco for 8 years, but she said she doesn’t worry too much about technique.\u003c/p>\n\u003cp>“I’m here to have fun,” Nerguizuizian said. “That’s the most important part of all. It’s really about feeling it inside you…and just dancing your heart out.”\u003c/p>\n\u003cp>Watching the rehearsal, I knew I couldn’t have put more than two steps together without forgetting what’s next. But “in flamenco,” Rodriguez said, “it’s not about how much you can do, but what you do with what you already have.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good advice for anyone still thinking about joining the \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">flashmob on Friday.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>To find out more about SF Opera’s production of \u003cem>Andrea Chenier\u003c/em>, click \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At four o’clock every Sunday, bluegrass musicians take over the Lucky Horseshoe in Bernal Heights for a jam that feels like a subtle transfer of power. People pull banjos and fiddles from under barstools, or suddenly appear, silhouetted in the doorway, carrying a standup bass.\u003c/p>\n\u003cp>In a city ever more digitized and on-demand, the low-tech sound of wood and wire toughs it out in venues like this, a stand-in for the living room, kitchen or porch. Like grass popping through cracks in the sidewalk, bluegrass fans square dance in bookstores and musicians jam in taquerias and on the lawn of the Google campus.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MWiQ8i2RVWM\u003c/p>\n\u003cp>As the circle grows at the Horseshoe, jam host Frank Holmes kicks off “Blue Ridge Mountain Blues,” a song about homesickness. There is an appealing breach of context, listening to rural Appalachian music in the world’s high-tech capital. But the sound suits a city of transplants. The breach is sometimes where you find yourself.\u003c/p>\n\u003cp>“These emotions translate, even if you didn’t grow up in a holler, or learn fiddle on the porch of your grandfather’s cabin,” says Peter Thompson, host of KALW’s long-running weekly bluegrass show, \u003cem>\u003ca href=\"http://kalw.org/programs/bluegrass-signal\" target=\"_blank\" rel=\"noopener\">Bluegrass Signal\u003c/a>\u003c/em>.\u003c/p>\n\u003ch3>Roots in rural America\u003c/h3>\n\u003cp>Bluegrass has its roots in the rural American experience. The “high lonesome sound,” pioneered by Kentuckian Bill Monroe, in the 1940s married traditional tunes from the British Isles with old-time country fiddling. It borrowed blue notes from African-American gospel and jazz, and gave expression to a nostalgic and sometimes fictional past during a time of rapid urbanization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the urban folk revival of the 1960s, bluegrass found a second home in California. The west coast influence of improvisational rock ‘n’ roll expanded the genre in directions Monroe might never have imagined. Musicians like Tony Rice and David “Dawg” Grisman took bluegrass from “Scotch bagpipes and old time fiddlin’,” as Monroe put it, to the limits of jazz, psychedelic rock, Latin music and beyond, inspiring curious-named sub-genres like “spacegrass,” “bloodgrass,” and “weirdgrass.”\u003c/p>\n\u003cp>“Bluegrass is a mongrel,” says Butch Waller, founder of \u003ca href=\"http://highcountrybluegrass.com/\" target=\"_blank\" rel=\"noopener\">High Country\u003c/a>, one of the west coast’s premiere bluegrass bands. “The rules are rigid. Until you break ‘em.”\u003c/p>\n\u003ch3>Proudly nichey\u003c/h3>\n\u003cp>The Bay Area bluegrass scene today is proudly nichey. It’s found mostly in bars, and is by and large the province of amateur musicians who savor its down-to-earth, under-the-radar feel.\u003c/p>\n\u003cp>“Bluegrass will never be mainstream,” says Larry Chung, who plays banjo with the \u003ca href=\"https://www.facebook.com/bernalhillbillies/\" target=\"_blank\" rel=\"noopener\">Bernal Hillbillies\u003c/a>, a band that play gigs right down the road from the Horseshoe at Bare Bottle Brewing. “But that appeals to people here.” Two-time Northern California Guitarist of the Year, Yoseff Tucker, a regular at the open jam at Amnesia, plays in four bands. “The Bay,” he says, “has all of the bluegrass and none of the baggage.”\u003c/p>\n\u003ch3>The mainstreaming of Hardly Strictly\u003c/h3>\n\u003cp>Yet the genre also has a place on more mainstream stages in the Bay Area, such as the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>. The late financier, philanthropist and amateur banjo player Warren Hellman started the free event, briefly named “The Strictly Bluegrass Festival” at its inception in 2001.\u003c/p>\n\u003cfigure id=\"attachment_10888731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10888731 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg\" alt=\"A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ensuing years Hardly Strictly has grown from one day to three, two stages to seven, and from nine bands to more than 90. And over that time, the share of bluegrass on the lineup has fallen to around ten percent. As the festival’s co-founder Jonathan Nelson puts it, “the focus is on the hardly strictly.” Nelson says Hardly Strictly’s programmers are interested in cultivating a community of artists and bringing bands that fit the vibe. “Whether it’s rock, blues, folk, it’s the same thread,” he says.\u003c/p>\n\u003cp>This year’s event, which runs from Friday, Sept. 30 to Sunday, Oct. 2 in Golden Gate Park, includes major out-of-town names playing in the traditional vein, like the Dave Rawlings Machine, the Dry Branch Fire Squad, and Berkeley’s Grammy Award-winning fiddler and raconteur Laurie Lewis and the Right Hands, whose songs pay homage to greats of the past like Lester Flatt, the Stanley Brothers, and Hazel Dickens.\u003c/p>\n\u003ch3>The music goes on\u003c/h3>\n\u003cp>Despite the diminished presence of bluegrass in the festival, Ted Kuster, the San Francisco representative of the California Bluegrass Association and member of local weirdgrass band, the Beauty Operators, says he’s not worried about the future of the traditional scene here. “The difference with bluegrass is the mass of participant listeners,” Kuster says. “And local legends like Laurie Lewis tending the pipeline.\u003c/p>\n\u003cp>Earlier this month, Lewis brought the past, present and future of bluegrass to the stage at the seventh annual Bill Monroe tribute at the Freight and Salvage in Berkeley. With the intimacy and camaraderie of a living room jam, the band and guests took turns with an anthology that every serious bluegrass musician knows by heart.\u003c/p>\n\u003cfigure id=\"attachment_12131480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12131480 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg\" alt=\"Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute. \u003ccite>(Photo: Kristin Scheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next generation was both reverent and inspired. Oakland’s \u003ca href=\"http://tsisters.com/\" target=\"_blank\" rel=\"noopener\">T Sisters\u003c/a>, channeling Emmylou Harris with their signature “three headed sound,” harmonized a woozy version of the spiritual “Wayfaring Stranger,” and 16-year-old Luke Forrest sang the traditional tune “Molly and Tenbrooks” like he was witnessing the high-stakes horse race at the center of the song first hand.\u003c/p>\n\u003cp>If a fictional song about a 1878 equestrian event can make you feel like something from long ago is still at stake, it is not so hard to believe that old-time music has more to offer a city that celebrates the ever new and recently updated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The 2016 Hardly Strictly Bluegrass Festival\u003c/em> runs Friday, Sep. 30 – Sunday, Oct.2,\u003cstrong> in Golden Gate Park, San Francisco. More information \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And if strictly bluegrass is what you’re after, check out the \u003ca href=\"http://www.shelbyashpresents.net.\" target=\"_blank\" rel=\"noopener\">\u003cem>All Bluegrass After Party\u003c/em>\u003c/a> at The Plough and Stars in San Francisco on Friday, Sep. 30. \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Find regular bluegrass jams in San Francisco at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia \u003c/a>on Mondays; the \u003ca href=\"http://www.theluckyhorseshoebar.com\" target=\"_blank\" rel=\"noopener\">Lucky Horseshoe\u003c/a> on Sundays from 4; and \u003ca href=\"http://www.alleycatbookshop.com/events.html\" target=\"_blank\" rel=\"noopener\">Alleycat Books\u003c/a> every fourth Friday. In the East Bay, head to \u003cstrong>\u003ca href=\"http://bajaonpiedmont.com/el-taco-jam/\" target=\"_blank\" rel=\"noopener\">El Taco Jam\u003c/a> at Baja in Oakland on Mondays. \u003ca href=\"http://www.thefreight.org\" target=\"_blank\" rel=\"noopener\">The Freight and Salvage\u003c/a> in Berkeley offers bluegrass performances and workshops, as does the Mountain View Masonic Lodge. \u003c/strong>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At four o’clock every Sunday, bluegrass musicians take over the Lucky Horseshoe in Bernal Heights for a jam that feels like a subtle transfer of power. People pull banjos and fiddles from under barstools, or suddenly appear, silhouetted in the doorway, carrying a standup bass.\u003c/p>\n\u003cp>In a city ever more digitized and on-demand, the low-tech sound of wood and wire toughs it out in venues like this, a stand-in for the living room, kitchen or porch. Like grass popping through cracks in the sidewalk, bluegrass fans square dance in bookstores and musicians jam in taquerias and on the lawn of the Google campus.\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/MWiQ8i2RVWM'\n title='//www.youtube.com/embed/MWiQ8i2RVWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the circle grows at the Horseshoe, jam host Frank Holmes kicks off “Blue Ridge Mountain Blues,” a song about homesickness. There is an appealing breach of context, listening to rural Appalachian music in the world’s high-tech capital. But the sound suits a city of transplants. The breach is sometimes where you find yourself.\u003c/p>\n\u003cp>“These emotions translate, even if you didn’t grow up in a holler, or learn fiddle on the porch of your grandfather’s cabin,” says Peter Thompson, host of KALW’s long-running weekly bluegrass show, \u003cem>\u003ca href=\"http://kalw.org/programs/bluegrass-signal\" target=\"_blank\" rel=\"noopener\">Bluegrass Signal\u003c/a>\u003c/em>.\u003c/p>\n\u003ch3>Roots in rural America\u003c/h3>\n\u003cp>Bluegrass has its roots in the rural American experience. The “high lonesome sound,” pioneered by Kentuckian Bill Monroe, in the 1940s married traditional tunes from the British Isles with old-time country fiddling. It borrowed blue notes from African-American gospel and jazz, and gave expression to a nostalgic and sometimes fictional past during a time of rapid urbanization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the urban folk revival of the 1960s, bluegrass found a second home in California. The west coast influence of improvisational rock ‘n’ roll expanded the genre in directions Monroe might never have imagined. Musicians like Tony Rice and David “Dawg” Grisman took bluegrass from “Scotch bagpipes and old time fiddlin’,” as Monroe put it, to the limits of jazz, psychedelic rock, Latin music and beyond, inspiring curious-named sub-genres like “spacegrass,” “bloodgrass,” and “weirdgrass.”\u003c/p>\n\u003cp>“Bluegrass is a mongrel,” says Butch Waller, founder of \u003ca href=\"http://highcountrybluegrass.com/\" target=\"_blank\" rel=\"noopener\">High Country\u003c/a>, one of the west coast’s premiere bluegrass bands. “The rules are rigid. Until you break ‘em.”\u003c/p>\n\u003ch3>Proudly nichey\u003c/h3>\n\u003cp>The Bay Area bluegrass scene today is proudly nichey. It’s found mostly in bars, and is by and large the province of amateur musicians who savor its down-to-earth, under-the-radar feel.\u003c/p>\n\u003cp>“Bluegrass will never be mainstream,” says Larry Chung, who plays banjo with the \u003ca href=\"https://www.facebook.com/bernalhillbillies/\" target=\"_blank\" rel=\"noopener\">Bernal Hillbillies\u003c/a>, a band that play gigs right down the road from the Horseshoe at Bare Bottle Brewing. “But that appeals to people here.” Two-time Northern California Guitarist of the Year, Yoseff Tucker, a regular at the open jam at Amnesia, plays in four bands. “The Bay,” he says, “has all of the bluegrass and none of the baggage.”\u003c/p>\n\u003ch3>The mainstreaming of Hardly Strictly\u003c/h3>\n\u003cp>Yet the genre also has a place on more mainstream stages in the Bay Area, such as the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>. The late financier, philanthropist and amateur banjo player Warren Hellman started the free event, briefly named “The Strictly Bluegrass Festival” at its inception in 2001.\u003c/p>\n\u003cfigure id=\"attachment_10888731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10888731 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg\" alt=\"A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ensuing years Hardly Strictly has grown from one day to three, two stages to seven, and from nine bands to more than 90. And over that time, the share of bluegrass on the lineup has fallen to around ten percent. As the festival’s co-founder Jonathan Nelson puts it, “the focus is on the hardly strictly.” Nelson says Hardly Strictly’s programmers are interested in cultivating a community of artists and bringing bands that fit the vibe. “Whether it’s rock, blues, folk, it’s the same thread,” he says.\u003c/p>\n\u003cp>This year’s event, which runs from Friday, Sept. 30 to Sunday, Oct. 2 in Golden Gate Park, includes major out-of-town names playing in the traditional vein, like the Dave Rawlings Machine, the Dry Branch Fire Squad, and Berkeley’s Grammy Award-winning fiddler and raconteur Laurie Lewis and the Right Hands, whose songs pay homage to greats of the past like Lester Flatt, the Stanley Brothers, and Hazel Dickens.\u003c/p>\n\u003ch3>The music goes on\u003c/h3>\n\u003cp>Despite the diminished presence of bluegrass in the festival, Ted Kuster, the San Francisco representative of the California Bluegrass Association and member of local weirdgrass band, the Beauty Operators, says he’s not worried about the future of the traditional scene here. “The difference with bluegrass is the mass of participant listeners,” Kuster says. “And local legends like Laurie Lewis tending the pipeline.\u003c/p>\n\u003cp>Earlier this month, Lewis brought the past, present and future of bluegrass to the stage at the seventh annual Bill Monroe tribute at the Freight and Salvage in Berkeley. With the intimacy and camaraderie of a living room jam, the band and guests took turns with an anthology that every serious bluegrass musician knows by heart.\u003c/p>\n\u003cfigure id=\"attachment_12131480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12131480 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg\" alt=\"Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute. \u003ccite>(Photo: Kristin Scheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next generation was both reverent and inspired. Oakland’s \u003ca href=\"http://tsisters.com/\" target=\"_blank\" rel=\"noopener\">T Sisters\u003c/a>, channeling Emmylou Harris with their signature “three headed sound,” harmonized a woozy version of the spiritual “Wayfaring Stranger,” and 16-year-old Luke Forrest sang the traditional tune “Molly and Tenbrooks” like he was witnessing the high-stakes horse race at the center of the song first hand.\u003c/p>\n\u003cp>If a fictional song about a 1878 equestrian event can make you feel like something from long ago is still at stake, it is not so hard to believe that old-time music has more to offer a city that celebrates the ever new and recently updated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The 2016 Hardly Strictly Bluegrass Festival\u003c/em> runs Friday, Sep. 30 – Sunday, Oct.2,\u003cstrong> in Golden Gate Park, San Francisco. More information \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And if strictly bluegrass is what you’re after, check out the \u003ca href=\"http://www.shelbyashpresents.net.\" target=\"_blank\" rel=\"noopener\">\u003cem>All Bluegrass After Party\u003c/em>\u003c/a> at The Plough and Stars in San Francisco on Friday, Sep. 30. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Find regular bluegrass jams in San Francisco at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia \u003c/a>on Mondays; the \u003ca href=\"http://www.theluckyhorseshoebar.com\" target=\"_blank\" rel=\"noopener\">Lucky Horseshoe\u003c/a> on Sundays from 4; and \u003ca href=\"http://www.alleycatbookshop.com/events.html\" target=\"_blank\" rel=\"noopener\">Alleycat Books\u003c/a> every fourth Friday. In the East Bay, head to \u003cstrong>\u003ca href=\"http://bajaonpiedmont.com/el-taco-jam/\" target=\"_blank\" rel=\"noopener\">El Taco Jam\u003c/a> at Baja in Oakland on Mondays. \u003ca href=\"http://www.thefreight.org\" target=\"_blank\" rel=\"noopener\">The Freight and Salvage\u003c/a> in Berkeley offers bluegrass performances and workshops, as does the Mountain View Masonic Lodge. \u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>By the beginning of next year, the back section of Berkeley’s Amoeba Music won’t be where you buy jazz records; it will be where you buy “jazz cigarettes.”\u003c/p>\n\u003cp>Joking aside, the decision by the \u003ca href=\"http://www.berkeleyside.com/2016/09/21/berkeley-council-picks-amoeba-apothecarium-as-new-cannabis-dispensaries/\" target=\"_blank\" rel=\"noopener\">Berkeley City Council last week\u003c/a> to award the owners of the Amoeba Music one of the city’s six marijuana dispensary licenses means their flagship store on Telegraph Avenue has a shot at sticking around, says co-owner Marc Weinstein.\u003c/p>\n\u003cp>“This is absolutely going to help save the Berkeley store,” Weinstein says. \u003c/p>\n\u003cp>The Berkeley location will be the first record store in California to house a marijuana dispensary, but Amoeba Music isn’t doing it just to be pioneers in the field. Opened by Weinstein and co-owner David Prinz in 1990, the store, just blocks away from UC Berkeley campus, has been continually losing money for the past eight years; Weinstein says that this year’s sales at that location are less than half what they were in 2008. In the past, this wasn’t dire, as sales at the L.A. and San Francisco stores made up for the Berkeley store’s troubles, but in recent years sales at all three locations have decreased “because the market is shrinking all the time.”\u003c/p>\n\u003cp>“The Berkeley store got a lot slower than the other stores a lot sooner, partially because of the culture that surrounds Telegraph,” Weinstein says. “But also the students in general, especially five to ten years ago, came in, and the new wave was downloading and streaming music. Really, a lot of students don’t understand why anyone would buy a hard copy.” \u003c/p>\n\u003cfigure id=\"attachment_12130902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg\" alt=\"In the jazz section of Amoeba Music in Berkeley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12130902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the jazz section of Amoeba Music in Berkeley \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the rising \u003ca href=\"http://www.nytimes.com/2016/04/12/us/in-california-marijuana-is-smelling-more-like-big-business.html?_r=0\" target=\"_blank\" rel=\"noopener\">profitability of medical marijuana in California\u003c/a>, Amoeba Music has worked with Berkeley city officials and advisers in the pot industry for almost five years to secure a license. Now that they’ve been approved, Amoeba’s owners are working with Debby Goldsberry, executive director at Magnolia Wellness Collective dispensary in Oakland, to create the Berkeley Compassionate Care Collective in the section of the store that currently hosts its jazz, classical and world music sections. The 3,000-square-foot dispensary will sell a wide variety of products, and Weinstein says it will also serve to educate the public about uses and benefits of medical marijuana.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s going to be a full-service, comprehensive dispensary for the neighborhood,” Weinstein says. \u003c/p>\n\u003cp>But it hasn’t been cheap to enter the medical marijuana industry. Amoeba Music has already paid approximately $100,000 just for applying for the license to sell — it didn’t help that they were \u003ca href=\"http://www.berkeleyside.com/2016/05/11/berkeley-names-icann-as-next-cannabis-dispensary/\" target=\"_blank\" rel=\"noopener\">denied a license back in May\u003c/a> — and converting the space into a dispensary is expected to cost them several hundred thousand more. \u003c/p>\n\u003cp>Also, despite the almost-guaranteed profitability of medical marijuana, entering the business for the Amoeba owners is still risky after spending about $5 million on an online digital music store that never came to fruition. Weinstein says the project, which they saw as potentially competing with iTunes and Amazon in terms of the range and amount of downloadable music it would provide, “almost killed” Amoeba and had to be scrapped because they couldn’t strike a licensing deal with the major labels. Also, by the time the store was ready, Weinstein says the market for music downloads had come and went.\u003c/p>\n\u003cfigure id=\"attachment_12131878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg\" alt=\"Marc Weinstein\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12131878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Marc Weinstein \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole market only lasted nine years from beginning to end! Nobody buys digital downloads any more,” Weinstein says. “We literally never had any chance to get footing in that market. We spent millions of dollars on it and lots of resources, and where did it go? Into thin air.” \u003c/p>\n\u003cp>Besides being financially hobbled by an expensive gamble, Amoeba has the challenge of sustaining a business model that is contradictory to what is working for newer record stores. Local chains like 1-2-3-4-Go! and Stranded appear to be thriving because they’re in smaller locations and are smaller-staffed than the larger-sized Amoebas — Weinstein says that the L.A. store alone costs $165,000 a month in rent and employs over 200 workers. Not to say Amoeba’s emporiums are completely doomed, since plenty of customers still regularly shop at all three locations. \u003c/p>\n\u003cp>“We feel that the market for hard copies (of music releases) is going to stay strong for years to come, but it may not be big enough to sustain all of our three big stores,” Weinstein says. “We want to keep an emporium for hard copies in each of the three communities that we care about so much.”\u003c/p>\n\u003cp>If the dispensary succeeds in keeping the Berkeley store afloat, Weinstein says that the other two locations will end up incorporating marijuana dispensaries. (The San Francisco store already has \u003ca href=\"http://hoodline.com/2014/04/amoeba-records-now-your-friendly-local-medical-cannabis-doctor\" target=\"_blank\" rel=\"noopener\">a medical marijuana evaluation office \u003c/a>in its upstairs.) But Weinstein says it’s not just because of the money; he and Prinz strongly support the medical marijuana business in general. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cannabis dispensaries are our first experiment in this business — a business we strongly believe in. We think access to cannabis is a human rights issue, and my partner Dave and I are both very much on the same page,” Weinstein says. “We’re being afforded an opportunity to come into this business with fresh eyes and come up with a new model on Telegraph. We feel the responsibility and we’re hoping to make everyone happy with a model that is strictly Berkeley-style and very much a part of the community.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the beginning of next year, the back section of Berkeley’s Amoeba Music won’t be where you buy jazz records; it will be where you buy “jazz cigarettes.”\u003c/p>\n\u003cp>Joking aside, the decision by the \u003ca href=\"http://www.berkeleyside.com/2016/09/21/berkeley-council-picks-amoeba-apothecarium-as-new-cannabis-dispensaries/\" target=\"_blank\" rel=\"noopener\">Berkeley City Council last week\u003c/a> to award the owners of the Amoeba Music one of the city’s six marijuana dispensary licenses means their flagship store on Telegraph Avenue has a shot at sticking around, says co-owner Marc Weinstein.\u003c/p>\n\u003cp>“This is absolutely going to help save the Berkeley store,” Weinstein says. \u003c/p>\n\u003cp>The Berkeley location will be the first record store in California to house a marijuana dispensary, but Amoeba Music isn’t doing it just to be pioneers in the field. Opened by Weinstein and co-owner David Prinz in 1990, the store, just blocks away from UC Berkeley campus, has been continually losing money for the past eight years; Weinstein says that this year’s sales at that location are less than half what they were in 2008. In the past, this wasn’t dire, as sales at the L.A. and San Francisco stores made up for the Berkeley store’s troubles, but in recent years sales at all three locations have decreased “because the market is shrinking all the time.”\u003c/p>\n\u003cp>“The Berkeley store got a lot slower than the other stores a lot sooner, partially because of the culture that surrounds Telegraph,” Weinstein says. “But also the students in general, especially five to ten years ago, came in, and the new wave was downloading and streaming music. Really, a lot of students don’t understand why anyone would buy a hard copy.” \u003c/p>\n\u003cfigure id=\"attachment_12130902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg\" alt=\"In the jazz section of Amoeba Music in Berkeley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12130902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the jazz section of Amoeba Music in Berkeley \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the rising \u003ca href=\"http://www.nytimes.com/2016/04/12/us/in-california-marijuana-is-smelling-more-like-big-business.html?_r=0\" target=\"_blank\" rel=\"noopener\">profitability of medical marijuana in California\u003c/a>, Amoeba Music has worked with Berkeley city officials and advisers in the pot industry for almost five years to secure a license. Now that they’ve been approved, Amoeba’s owners are working with Debby Goldsberry, executive director at Magnolia Wellness Collective dispensary in Oakland, to create the Berkeley Compassionate Care Collective in the section of the store that currently hosts its jazz, classical and world music sections. The 3,000-square-foot dispensary will sell a wide variety of products, and Weinstein says it will also serve to educate the public about uses and benefits of medical marijuana.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s going to be a full-service, comprehensive dispensary for the neighborhood,” Weinstein says. \u003c/p>\n\u003cp>But it hasn’t been cheap to enter the medical marijuana industry. Amoeba Music has already paid approximately $100,000 just for applying for the license to sell — it didn’t help that they were \u003ca href=\"http://www.berkeleyside.com/2016/05/11/berkeley-names-icann-as-next-cannabis-dispensary/\" target=\"_blank\" rel=\"noopener\">denied a license back in May\u003c/a> — and converting the space into a dispensary is expected to cost them several hundred thousand more. \u003c/p>\n\u003cp>Also, despite the almost-guaranteed profitability of medical marijuana, entering the business for the Amoeba owners is still risky after spending about $5 million on an online digital music store that never came to fruition. Weinstein says the project, which they saw as potentially competing with iTunes and Amazon in terms of the range and amount of downloadable music it would provide, “almost killed” Amoeba and had to be scrapped because they couldn’t strike a licensing deal with the major labels. Also, by the time the store was ready, Weinstein says the market for music downloads had come and went.\u003c/p>\n\u003cfigure id=\"attachment_12131878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg\" alt=\"Marc Weinstein\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12131878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Marc Weinstein \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole market only lasted nine years from beginning to end! Nobody buys digital downloads any more,” Weinstein says. “We literally never had any chance to get footing in that market. We spent millions of dollars on it and lots of resources, and where did it go? Into thin air.” \u003c/p>\n\u003cp>Besides being financially hobbled by an expensive gamble, Amoeba has the challenge of sustaining a business model that is contradictory to what is working for newer record stores. Local chains like 1-2-3-4-Go! and Stranded appear to be thriving because they’re in smaller locations and are smaller-staffed than the larger-sized Amoebas — Weinstein says that the L.A. store alone costs $165,000 a month in rent and employs over 200 workers. Not to say Amoeba’s emporiums are completely doomed, since plenty of customers still regularly shop at all three locations. \u003c/p>\n\u003cp>“We feel that the market for hard copies (of music releases) is going to stay strong for years to come, but it may not be big enough to sustain all of our three big stores,” Weinstein says. “We want to keep an emporium for hard copies in each of the three communities that we care about so much.”\u003c/p>\n\u003cp>If the dispensary succeeds in keeping the Berkeley store afloat, Weinstein says that the other two locations will end up incorporating marijuana dispensaries. (The San Francisco store already has \u003ca href=\"http://hoodline.com/2014/04/amoeba-records-now-your-friendly-local-medical-cannabis-doctor\" target=\"_blank\" rel=\"noopener\">a medical marijuana evaluation office \u003c/a>in its upstairs.) But Weinstein says it’s not just because of the money; he and Prinz strongly support the medical marijuana business in general. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cannabis dispensaries are our first experiment in this business — a business we strongly believe in. We think access to cannabis is a human rights issue, and my partner Dave and I are both very much on the same page,” Weinstein says. “We’re being afforded an opportunity to come into this business with fresh eyes and come up with a new model on Telegraph. We feel the responsibility and we’re hoping to make everyone happy with a model that is strictly Berkeley-style and very much a part of the community.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you were among the \u003ca href=\"http://www.nytimes.com/2016/09/28/business/media/at-nearly-84-million-viewers-debate-may-be-the-most-watched-ever.html?_r=0\" target=\"_blank\">84 million viewers \u003c/a>who tuned in Monday night to watch the surrealist 90-minute\u003ca href=\"http://www.pbs.org/newshour/rundown/for-many-women-watching-trump-interrupt-clinton-51-times-was-unnerving-but-familiar/\" target=\"_blank\"> interruption-fest\u003c/a>/Gender Politics 101 course that was the first presidential debate, chances are you found yourself cringing more than a handful of times. No matter your political orientation, it contained moments that were -- well, let's be diplomatic and say \"less than artful.\"\u003c/p>\n\u003cp>Luckily, we have the internet. In confusing times like these, the internet promises to make sense out of the nonsensical, or at least round up \u003ca href=\"https://www.wired.com/2016/09/first-debate-best-tweets/\" target=\"_blank\">the funniest tweets about it\u003c/a>.\u003c/p>\n\u003cp>In that same spirit of \"maybe if we make fun of this situation it will stop being so deeply terrifying,\" the Gregory Brothers -- best known for their work \u003ca href=\"https://www.youtube.com/watch?v=Vegd7EPdOss\" target=\"_blank\">Auto-Tuning the news\u003c/a>, as well as that \u003ca href=\"http://www.vanityfair.com/hollywood/2015/03/unbreakable-kimmy-schmidt-theme-song\" target=\"_blank\">earworm of a theme song for \u003cem>Unbreakable Kimmy Schmidt\u003c/em>\u003c/a> -- seemingly worked around the clock immediately following the debate to produce the following, truly inspirational ditty.\u003c/p>\n\u003cp>With a little help from Blondie's Debbie Harry and Chris Stein filling in for moderator Lester Holt, it's no surprise that this two-and-a-half-minute song immediately surpasses the actual debate in terms of enjoyability. I'll say that I, for one, have certainly never liked the sound of the name \"Sean Hannity\" quite as much as I do here. (Or, you know, at all.)\u003c/p>\n\u003cp>In any event: Give it a watch below. Take some deep breaths with me. Maybe by the time the second debate rolls around (Sunday, Oct. 9), we will all have collectively unclenched our teeth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=95AR87ciruc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were among the \u003ca href=\"http://www.nytimes.com/2016/09/28/business/media/at-nearly-84-million-viewers-debate-may-be-the-most-watched-ever.html?_r=0\" target=\"_blank\">84 million viewers \u003c/a>who tuned in Monday night to watch the surrealist 90-minute\u003ca href=\"http://www.pbs.org/newshour/rundown/for-many-women-watching-trump-interrupt-clinton-51-times-was-unnerving-but-familiar/\" target=\"_blank\"> interruption-fest\u003c/a>/Gender Politics 101 course that was the first presidential debate, chances are you found yourself cringing more than a handful of times. No matter your political orientation, it contained moments that were -- well, let's be diplomatic and say \"less than artful.\"\u003c/p>\n\u003cp>Luckily, we have the internet. In confusing times like these, the internet promises to make sense out of the nonsensical, or at least round up \u003ca href=\"https://www.wired.com/2016/09/first-debate-best-tweets/\" target=\"_blank\">the funniest tweets about it\u003c/a>.\u003c/p>\n\u003cp>In that same spirit of \"maybe if we make fun of this situation it will stop being so deeply terrifying,\" the Gregory Brothers -- best known for their work \u003ca href=\"https://www.youtube.com/watch?v=Vegd7EPdOss\" target=\"_blank\">Auto-Tuning the news\u003c/a>, as well as that \u003ca href=\"http://www.vanityfair.com/hollywood/2015/03/unbreakable-kimmy-schmidt-theme-song\" target=\"_blank\">earworm of a theme song for \u003cem>Unbreakable Kimmy Schmidt\u003c/em>\u003c/a> -- seemingly worked around the clock immediately following the debate to produce the following, truly inspirational ditty.\u003c/p>\n\u003cp>With a little help from Blondie's Debbie Harry and Chris Stein filling in for moderator Lester Holt, it's no surprise that this two-and-a-half-minute song immediately surpasses the actual debate in terms of enjoyability. I'll say that I, for one, have certainly never liked the sound of the name \"Sean Hannity\" quite as much as I do here. (Or, you know, at all.)\u003c/p>\n\u003cp>In any event: Give it a watch below. Take some deep breaths with me. Maybe by the time the second debate rolls around (Sunday, Oct. 9), we will all have collectively unclenched our teeth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\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=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\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=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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