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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A spectacularly-adorned creature — all glitter, lashes, hair, and curves — commands the stage with her bearing alone. Watching \u003ca href=\"https://en.wikipedia.org/wiki/Trannyshack\" target=\"_blank\" rel=\"noopener\">Trannyshack\u003c/a> founder Heklina open her mouth and unleash a booming sound that can’t be ignored as she belts out an anthem she wrote about self-expression entitled “Live My Life,” one can’t help but notice how the famed San Francisco drag queen so effortlessly captures the essence of many an opera diva.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-d2f2vfPYTo\u003c/p>\n\u003cp>So it seems fitting that Heklina is hosting \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">\u003ci>Drag Queen of the Opera\u003c/i>\u003c/a> at her club, \u003ca href=\"http://sfoasis.com\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, in collaboration with singers from \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> (SF Opera). Appealing to the “opera-curious,” the Sunday, Oct. 30 offering from the company’s hip new audience outreach arm \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> promises to be popular among fans of both drag and opera, as well as newbies. Heklina is encouraging audience members to come in costume, drink cocktails, and enjoy arias performed by young singers. And there’s a DJ dance party afterwards.\u003c/p>\n\u003cp>The lineup includes \u003ca href=\"http://imgartists.com/artist/julie_adams\" target=\"_blank\" rel=\"noopener\">Julie Adams\u003c/a> (who aced the U.S. opera world’s biggest competition in 2014, the Metropolitan Opera National Council Auditions) and \u003ca href=\"http://brentonryan.com\" target=\"_blank\" rel=\"noopener\">Brenton Ryan\u003c/a>, hot off his acclaimed SF Opera debut in \u003ci>The Makropulos Case\u003c/i>, as well as additional vocalists and a pianist. There’ll be ample gender-role bending. And in keeping with the onrush of Halloween, looming large will be witches, devils, and coming back from the dead. The ringmistress of all of this operatic mayhem, of course, is Heklina, setting up the scenes and keeping the audience focused with the sharp and bawdy humor for which she’s known.\u003c/p>\n\u003cfigure id=\"attachment_12242565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg\" alt=\"SF Opera Lab Pop-Up\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994.jpg 1129w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera has hosted two previous pop-ups at Public Works and The Chapel. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Popping her opera cherry\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heklina herself is no opera insider. She’s never actually experienced an opera performed live on stage, though she’s going to get a chance to pop her opera cherry when she goes to see SF Opera’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Madame Butterfly\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> next month. “I’m not sure why I’ve never been, maybe I thought it would not resonate,” Heklina says. “Like most people who aren’t familiar with opera, the word conjures images of a heavyset man belting out songs in Italian or Bugs Bunny dressed up like a valkyrie.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Heklina has been enjoying her nascent relationship with the young, classically-trained singers she’s collaborating with at Oasis. “After working with these guys for the past few weeks, I am very intrigued,” she says. “For the uninitiated, the pop-up will be a great intro to the opera world.”\u003c/p>\n\u003ch3>Opera and the queer community\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opera has a huge fan base among the Bay Area’s queer community. SF Opera even has a subscription program dubbed the “Rainbow Series” for LGBT patrons, complete with rainbow colored lights and exclusive receptions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, a part of the intersection of queerness and opera definitely came out of a feeling of ‘otherness’ I had growing up,” says soprano \u003ca href=\"http://www.emmamcnairy.com\" target=\"_blank\" rel=\"noopener\">Emma McNairy\u003c/a>, who identifies as a lesbian. “This related to me feeling queer in some way, as well as me being so obsessed with opera as a child and teenager. My peers did not really understand this about me, but opera gave me such an amazing world and outlet for intellectual endeavors, languages, and then just plain emotion.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the mass popularity of TV shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and the once-niche but now prime-time \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">RuPaul’s Drag Race\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, gender fluidity is much more out in the open in our culture at large. This makes it a good time for the traditionalist, institutional art form of opera and the free-flowing, underground world of drag to finally get a joint coming-out party.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab Pop-Ups: Innovative, Intimate, Eclectic Opera\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ir-hWK8J_1I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For its part, SF Opera hopes the show at Oasis will engage a younger, more diverse crowd — just like the two other more experimental events the Lab has put on since being founded last season. “Drag shows and opera are similar in melodrama, grandness, and the pomp and circumstance,” says Sean Waugh, the artistic planning manager at SF Opera and the producer of all of the company’s pop-up events thus far. “I like pushing us more and more out of our comfort zone, especially the performers. We are hoping to find a connection to the drag and LGBT community, especially the younger people.”\u003c/span>\u003c/p>\n\u003ch3>Cross-dressing not new to opera\u003c/h3>\n\u003cp>Cross-dressing in opera is as old as the art form itself. Women’s roles were originally sung by castrati — male singers whose testicles were removed before puberty — as seen in the 1994 movie \u003ci>\u003cspan style=\"font-weight: 400\">Farinelli\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. These days castrated singers are hard to come by, so the parts in 17th and 18th century operas are sometimes taken by male countertenors who sing in falsetto — or just as often, if not more often, by pants-wearing female performers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Opera’s gender fluidity isn’t just part of ancient history. You can trace a clear line from Mozart’s casting of a woman in the role of the boy Cherubino in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Marriage of Figaro, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">through Richard Strauss’ making Octavian a female part in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Der Rosenkavalier\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and on to Thomas Adès using a soprano for the gender-neutral spirit Ariel in his 2004 version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tempest\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12264824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12264824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg\" alt=\"Fans get their opera on at a recent SF Opera Lab event in San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261.jpg 1985w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans get their opera on at a recent SF Opera Lab event in San Francisco. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While less common, men occasionally take on female roles in opera, most notably \u003c/span>\u003cspan style=\"font-weight: 400\">the Gingerbread Witch in 19th century composer Engelbert Humperdinck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hansel and Gretel.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Though the role was originally written for a mezzo-soprano, the witch is also routinely sung by a tenor, as in the Metropolitan Opera’s high-def film production in 2008.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“Queer culture and opera have been inextricably intertwined since the days of Monteverdi,” says Michael Strickland, a gay opera fan and \u003ca href=\"http://sfciviccenter.blogspot.com\" target=\"_blank\" rel=\"noopener\">cultural blogger\u003c/a> who lives in San Francisco. “Why are so many queers into musical theater? I really don’t have a clue, other than they have an inclination towards escape, art, and fabulousness.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Drag Queen of the Opera’ gets underway on Sunday, Oct. 30, at Oasis in San Francisco. Tickets and information \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A new collaboration at Club Oasis between one of San Francisco’s most revered drag performers and young singers from SF Opera highlights the enduring relationship between opera and cross-dressing.",
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"title": "Drag Queen Heklina Pops Her Opera Cherry at Oasis | KQED",
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"headline": "Drag Queen Heklina Pops Her Opera Cherry at Oasis",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A spectacularly-adorned creature — all glitter, lashes, hair, and curves — commands the stage with her bearing alone. Watching \u003ca href=\"https://en.wikipedia.org/wiki/Trannyshack\" target=\"_blank\" rel=\"noopener\">Trannyshack\u003c/a> founder Heklina open her mouth and unleash a booming sound that can’t be ignored as she belts out an anthem she wrote about self-expression entitled “Live My Life,” one can’t help but notice how the famed San Francisco drag queen so effortlessly captures the essence of many an opera diva.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\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/-d2f2vfPYTo'\n title='//www.youtube.com/embed/-d2f2vfPYTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So it seems fitting that Heklina is hosting \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">\u003ci>Drag Queen of the Opera\u003c/i>\u003c/a> at her club, \u003ca href=\"http://sfoasis.com\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, in collaboration with singers from \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> (SF Opera). Appealing to the “opera-curious,” the Sunday, Oct. 30 offering from the company’s hip new audience outreach arm \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> promises to be popular among fans of both drag and opera, as well as newbies. Heklina is encouraging audience members to come in costume, drink cocktails, and enjoy arias performed by young singers. And there’s a DJ dance party afterwards.\u003c/p>\n\u003cp>The lineup includes \u003ca href=\"http://imgartists.com/artist/julie_adams\" target=\"_blank\" rel=\"noopener\">Julie Adams\u003c/a> (who aced the U.S. opera world’s biggest competition in 2014, the Metropolitan Opera National Council Auditions) and \u003ca href=\"http://brentonryan.com\" target=\"_blank\" rel=\"noopener\">Brenton Ryan\u003c/a>, hot off his acclaimed SF Opera debut in \u003ci>The Makropulos Case\u003c/i>, as well as additional vocalists and a pianist. There’ll be ample gender-role bending. And in keeping with the onrush of Halloween, looming large will be witches, devils, and coming back from the dead. The ringmistress of all of this operatic mayhem, of course, is Heklina, setting up the scenes and keeping the audience focused with the sharp and bawdy humor for which she’s known.\u003c/p>\n\u003cfigure id=\"attachment_12242565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg\" alt=\"SF Opera Lab Pop-Up\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994.jpg 1129w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera has hosted two previous pop-ups at Public Works and The Chapel. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Popping her opera cherry\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heklina herself is no opera insider. She’s never actually experienced an opera performed live on stage, though she’s going to get a chance to pop her opera cherry when she goes to see SF Opera’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Madame Butterfly\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> next month. “I’m not sure why I’ve never been, maybe I thought it would not resonate,” Heklina says. “Like most people who aren’t familiar with opera, the word conjures images of a heavyset man belting out songs in Italian or Bugs Bunny dressed up like a valkyrie.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Heklina has been enjoying her nascent relationship with the young, classically-trained singers she’s collaborating with at Oasis. “After working with these guys for the past few weeks, I am very intrigued,” she says. “For the uninitiated, the pop-up will be a great intro to the opera world.”\u003c/p>\n\u003ch3>Opera and the queer community\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opera has a huge fan base among the Bay Area’s queer community. SF Opera even has a subscription program dubbed the “Rainbow Series” for LGBT patrons, complete with rainbow colored lights and exclusive receptions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, a part of the intersection of queerness and opera definitely came out of a feeling of ‘otherness’ I had growing up,” says soprano \u003ca href=\"http://www.emmamcnairy.com\" target=\"_blank\" rel=\"noopener\">Emma McNairy\u003c/a>, who identifies as a lesbian. “This related to me feeling queer in some way, as well as me being so obsessed with opera as a child and teenager. My peers did not really understand this about me, but opera gave me such an amazing world and outlet for intellectual endeavors, languages, and then just plain emotion.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the mass popularity of TV shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and the once-niche but now prime-time \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">RuPaul’s Drag Race\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, gender fluidity is much more out in the open in our culture at large. This makes it a good time for the traditionalist, institutional art form of opera and the free-flowing, underground world of drag to finally get a joint coming-out party.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab Pop-Ups: Innovative, Intimate, Eclectic Opera\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ir-hWK8J_1I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For its part, SF Opera hopes the show at Oasis will engage a younger, more diverse crowd — just like the two other more experimental events the Lab has put on since being founded last season. “Drag shows and opera are similar in melodrama, grandness, and the pomp and circumstance,” says Sean Waugh, the artistic planning manager at SF Opera and the producer of all of the company’s pop-up events thus far. “I like pushing us more and more out of our comfort zone, especially the performers. We are hoping to find a connection to the drag and LGBT community, especially the younger people.”\u003c/span>\u003c/p>\n\u003ch3>Cross-dressing not new to opera\u003c/h3>\n\u003cp>Cross-dressing in opera is as old as the art form itself. Women’s roles were originally sung by castrati — male singers whose testicles were removed before puberty — as seen in the 1994 movie \u003ci>\u003cspan style=\"font-weight: 400\">Farinelli\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. These days castrated singers are hard to come by, so the parts in 17th and 18th century operas are sometimes taken by male countertenors who sing in falsetto — or just as often, if not more often, by pants-wearing female performers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Opera’s gender fluidity isn’t just part of ancient history. You can trace a clear line from Mozart’s casting of a woman in the role of the boy Cherubino in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Marriage of Figaro, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">through Richard Strauss’ making Octavian a female part in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Der Rosenkavalier\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and on to Thomas Adès using a soprano for the gender-neutral spirit Ariel in his 2004 version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tempest\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12264824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12264824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg\" alt=\"Fans get their opera on at a recent SF Opera Lab event in San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261.jpg 1985w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans get their opera on at a recent SF Opera Lab event in San Francisco. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While less common, men occasionally take on female roles in opera, most notably \u003c/span>\u003cspan style=\"font-weight: 400\">the Gingerbread Witch in 19th century composer Engelbert Humperdinck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hansel and Gretel.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Though the role was originally written for a mezzo-soprano, the witch is also routinely sung by a tenor, as in the Metropolitan Opera’s high-def film production in 2008.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“Queer culture and opera have been inextricably intertwined since the days of Monteverdi,” says Michael Strickland, a gay opera fan and \u003ca href=\"http://sfciviccenter.blogspot.com\" target=\"_blank\" rel=\"noopener\">cultural blogger\u003c/a> who lives in San Francisco. “Why are so many queers into musical theater? I really don’t have a clue, other than they have an inclination towards escape, art, and fabulousness.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Drag Queen of the Opera’ gets underway on Sunday, Oct. 30, at Oasis in San Francisco. Tickets and information \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Controller’s Office has released an \u003ca href=\"http://sfcontroller.org/sites/default/files/Documents/Auditing/Fine%20Arts%20Museums%20Audit%20Report%20%2810.27.2016%29.pdf\" target=\"_blank\" rel=\"noopener\">audit\u003c/a> finding the Fine Arts Museums of San Francisco (FAMSF) “inappropriately” paid nearly half a million dollars to a former employee.\u003c/p>\n\u003cp>Auditors evaluated payroll and cash disbursements over the last three years (2013-15), during which period Diane “Dede” Wilsey was the CEO and president of the board at the de Young Museum and the Legion of Honor.\u003c/p>\n\u003cp>Wilsey got in \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/san-francisco-museum-president-under-fire-for-unauthorized-payment/\" target=\"_blank\" rel=\"noopener\">hot water\u003c/a> over a 2014 decision to order a $450,773 check cut to an ailing former employee. At the time, Wilsey said she didn’t need approval for the payment.\u003c/p>\n\u003cp>But the chief financial officer disagreed, was placed on administrative leave, left and then sued, claiming whistleblower protections. That was followed by a $2 million settlement, and attempts by Wilsey to get board members to help reimburse the museums for the payment. Four board members resigned.\u003c/p>\n\u003cp>San Francisco’s director of audits Tonia Lediju says city rules don’t really speak to Wilsey’s decision, but it’s “improper” under federal guidelines, as defined by the Government Accountability Office (GAO).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We use this as our guideline oftentimes when we cannot find best practices or a particular city legislation or laws around a particular business practice,” Lediju says.\u003c/p>\n\u003cp>Wilsey agreed earlier this year to switch from \u003ca href=\"http://ww2.kqed.org/arts/2016/07/25/dede-wilsey-resigns-as-de-young-legion-of-honor-board-chair/\" target=\"_blank\" rel=\"noopener\">president and CEO\u003c/a> to board chair at FAMSF. The CEO title is now attached to director Max Hollein, and the organization now has a new CFO. Lediju says the changes suggest the partially city-funded FAMSF will be in a good position to avoid issues of this kind in the future.\u003c/p>\n\u003cp>“They have a new CFO who has a strong background in helping organizations run appropriately,” Lediju says, adding that auditors had no trouble getting requested documents from the arts organization in a timely fashion.\u003c/p>\n\u003cp>The office of Attorney General Kamala Harris, whose senate campaign has received $5,400 in contributions from Wilsey, according to the \u003ca href=\"http://www.fec.gov/finance/disclosure/norindsea.shtml\" target=\"_blank\" rel=\"noopener\">Federal Election Commission\u003c/a>, confirmed that its \u003ca href=\"http://www.sfgate.com/bayarea/article/State-attorney-general-looking-into-S-F-6639432.php\" target=\"_blank\" rel=\"noopener\">own investigation\u003c/a> is still ongoing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokesman for Wilsey did not immediately respond to KQED’s requests for comment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Controller’s Office has released an \u003ca href=\"http://sfcontroller.org/sites/default/files/Documents/Auditing/Fine%20Arts%20Museums%20Audit%20Report%20%2810.27.2016%29.pdf\" target=\"_blank\" rel=\"noopener\">audit\u003c/a> finding the Fine Arts Museums of San Francisco (FAMSF) “inappropriately” paid nearly half a million dollars to a former employee.\u003c/p>\n\u003cp>Auditors evaluated payroll and cash disbursements over the last three years (2013-15), during which period Diane “Dede” Wilsey was the CEO and president of the board at the de Young Museum and the Legion of Honor.\u003c/p>\n\u003cp>Wilsey got in \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/san-francisco-museum-president-under-fire-for-unauthorized-payment/\" target=\"_blank\" rel=\"noopener\">hot water\u003c/a> over a 2014 decision to order a $450,773 check cut to an ailing former employee. At the time, Wilsey said she didn’t need approval for the payment.\u003c/p>\n\u003cp>But the chief financial officer disagreed, was placed on administrative leave, left and then sued, claiming whistleblower protections. That was followed by a $2 million settlement, and attempts by Wilsey to get board members to help reimburse the museums for the payment. Four board members resigned.\u003c/p>\n\u003cp>San Francisco’s director of audits Tonia Lediju says city rules don’t really speak to Wilsey’s decision, but it’s “improper” under federal guidelines, as defined by the Government Accountability Office (GAO).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We use this as our guideline oftentimes when we cannot find best practices or a particular city legislation or laws around a particular business practice,” Lediju says.\u003c/p>\n\u003cp>Wilsey agreed earlier this year to switch from \u003ca href=\"http://ww2.kqed.org/arts/2016/07/25/dede-wilsey-resigns-as-de-young-legion-of-honor-board-chair/\" target=\"_blank\" rel=\"noopener\">president and CEO\u003c/a> to board chair at FAMSF. The CEO title is now attached to director Max Hollein, and the organization now has a new CFO. Lediju says the changes suggest the partially city-funded FAMSF will be in a good position to avoid issues of this kind in the future.\u003c/p>\n\u003cp>“They have a new CFO who has a strong background in helping organizations run appropriately,” Lediju says, adding that auditors had no trouble getting requested documents from the arts organization in a timely fashion.\u003c/p>\n\u003cp>The office of Attorney General Kamala Harris, whose senate campaign has received $5,400 in contributions from Wilsey, according to the \u003ca href=\"http://www.fec.gov/finance/disclosure/norindsea.shtml\" target=\"_blank\" rel=\"noopener\">Federal Election Commission\u003c/a>, confirmed that its \u003ca href=\"http://www.sfgate.com/bayarea/article/State-attorney-general-looking-into-S-F-6639432.php\" target=\"_blank\" rel=\"noopener\">own investigation\u003c/a> is still ongoing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokesman for Wilsey did not immediately respond to KQED’s requests for comment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://twitter.com/i/moments\" target=\"_blank\" rel=\"noopener\">Twitter \u003c/a>announced Thursday it will soon shut down its video app \u003ca href=\"https://medium.com/@vine/important-news-about-vine-909c5f4ae7a7#.r4h4blldt\" target=\"_blank\" rel=\"noopener\">Vine,\u003c/a> just hours after the company said it will lay off nine percent of its workers.\u003c/p>\n\u003cp>Heavy \u003ca href=\"https://twitter.com/search?q=VIne&ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Esearch\" target=\"_blank\" rel=\"noopener\">Vine \u003c/a>users might be disappointed, but maybe not for long.\u003c/p>\n\u003cp>“As cool as innovative and fun as Vine was, it’s not really necessary anymore,” said \u003ca href=\"https://twitter.com/michaelpachter?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Wedbush Securities Analyst Michael Pachter\u003c/a>, who follows Twitter and other online stocks. \u003c/p>\n\u003cp>Pachter says Vine, with its six-second video limit, has become superfluous as an app, because it’s so easy to upload videos of any length via Instagram, Facebook, or YouTube. And Twitter users, he notes, can add links to their posts that will play non-Vine videos.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vine.co/v/iDUKmJVvHaL\u003cbr>\n\u003c/aside>\n\u003cp>But \u003ca href=\"http://eric-dyer.tumblr.com/\" target=\"_blank\" rel=\"noopener\">San Francisco artist Eric Dyer\u003c/a>, a Vine user, says he’ll miss the app. “Because Vine is a good idea generator,” Dyer said, “you have to be inventive to capture your audience in such a short time frame.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Twitter says it will keep Vine running for the time being, and users will get a chance to download their work before it closes for good.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://twitter.com/i/moments\" target=\"_blank\" rel=\"noopener\">Twitter \u003c/a>announced Thursday it will soon shut down its video app \u003ca href=\"https://medium.com/@vine/important-news-about-vine-909c5f4ae7a7#.r4h4blldt\" target=\"_blank\" rel=\"noopener\">Vine,\u003c/a> just hours after the company said it will lay off nine percent of its workers.\u003c/p>\n\u003cp>Heavy \u003ca href=\"https://twitter.com/search?q=VIne&ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Esearch\" target=\"_blank\" rel=\"noopener\">Vine \u003c/a>users might be disappointed, but maybe not for long.\u003c/p>\n\u003cp>“As cool as innovative and fun as Vine was, it’s not really necessary anymore,” said \u003ca href=\"https://twitter.com/michaelpachter?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Wedbush Securities Analyst Michael Pachter\u003c/a>, who follows Twitter and other online stocks. \u003c/p>\n\u003cp>Pachter says Vine, with its six-second video limit, has become superfluous as an app, because it’s so easy to upload videos of any length via Instagram, Facebook, or YouTube. And Twitter users, he notes, can add links to their posts that will play non-Vine videos.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vine.co/v/iDUKmJVvHaL\u003cbr>\n\u003c/aside>\n\u003cp>But \u003ca href=\"http://eric-dyer.tumblr.com/\" target=\"_blank\" rel=\"noopener\">San Francisco artist Eric Dyer\u003c/a>, a Vine user, says he’ll miss the app. “Because Vine is a good idea generator,” Dyer said, “you have to be inventive to capture your audience in such a short time frame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco filmmaker Kevin Epps had a bewildered air about him while he sat at a local Peet’s Coffee shop with his attorney, Mark Webb, on Wednesday afternoon, following his release from jail the night before. \u003c/p>\n\u003cp>[contextly_sidebar id=”Scx4xx4MGrCO6ceNY6w9Uga2I0kbLtNa”]\u003c/p>\n\u003cp>“I’m going through a myriad of different emotions,” Epps said.\u003c/p>\n\u003cp>Police \u003ca href=\"https://ww2.kqed.org/arts/2016/10/25/kevin-epps-documentary-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">arrested Epps Monday\u003c/a>, following a fatal shooting in his Glen Park home. The district attorney’s office released him Tuesday, determining “insufficient evidence to charge Kevin Epps at this time,” though the investigation continues.\u003c/p>\n\u003cp>“I’m really humble. Blessings to God, blessings to be here after going through this traumatic experience. Thank you, San Francisco,” he said, choking up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290168274″ 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>Webb says he spoke with the prosecutor, who seemed inclined to see the incident Monday as a case of self-defense. That’s not a characterization released by the district attorney’s office as of yet, but the Medical Examiner’s office has confirmed the man killed was Marcus Polk, Sr., and family members have told various Bay Area news organizations Polk, Sr. was not welcome in the home.\u003c/p>\n\u003cp>Epps has made a series of well-regarded documentaries about the African-American experience in the Bay Area, including the 2003 film \u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/p>\n\u003cp>“The body of work that Kevin has created and accomplished as a filmmaker is known to you and known to the city,” Webb says. He adds that reputation counts for something with the district attorney. “He weighed everything in terms of who Kevin is and what happened inside that house.”\u003c/p>\n\u003cp>Epps says he looks forward to continue making films, and to be a “voice for the voiceless.”\u003c/p>\n\u003cp>\u003cstrong>Listen to more of the conversation here:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290159344″ 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco filmmaker Kevin Epps had a bewildered air about him while he sat at a local Peet’s Coffee shop with his attorney, Mark Webb, on Wednesday afternoon, following his release from jail the night before. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I’m going through a myriad of different emotions,” Epps said.\u003c/p>\n\u003cp>Police \u003ca href=\"https://ww2.kqed.org/arts/2016/10/25/kevin-epps-documentary-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">arrested Epps Monday\u003c/a>, following a fatal shooting in his Glen Park home. The district attorney’s office released him Tuesday, determining “insufficient evidence to charge Kevin Epps at this time,” though the investigation continues.\u003c/p>\n\u003cp>“I’m really humble. Blessings to God, blessings to be here after going through this traumatic experience. Thank you, San Francisco,” he said, choking up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/290168274″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/290168274″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Webb says he spoke with the prosecutor, who seemed inclined to see the incident Monday as a case of self-defense. That’s not a characterization released by the district attorney’s office as of yet, but the Medical Examiner’s office has confirmed the man killed was Marcus Polk, Sr., and family members have told various Bay Area news organizations Polk, Sr. was not welcome in the home.\u003c/p>\n\u003cp>Epps has made a series of well-regarded documentaries about the African-American experience in the Bay Area, including the 2003 film \u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/p>\n\u003cp>“The body of work that Kevin has created and accomplished as a filmmaker is known to you and known to the city,” Webb says. He adds that reputation counts for something with the district attorney. “He weighed everything in terms of who Kevin is and what happened inside that house.”\u003c/p>\n\u003cp>Epps says he looks forward to continue making films, and to be a “voice for the voiceless.”\u003c/p>\n\u003cp>\u003cstrong>Listen to more of the conversation here:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/290159344″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/290159344″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the suburban city of San Leandro, a 55-foot-tall statue of a naked woman dancing at a local technology park has turned a few heads since it was unveiled last Tuesday — especially at a nearby BART station, where the statue can be seen from the train platform. But despite reports, representatives from the group that installed the statue say it’s not as controversial as some may say. \u003c/p>\n\u003cp>The 13,000-pound, five-story steel mesh statue \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">\u003cem>Truth Is Beauty\u003c/em>\u003c/a>, by local sculptor Marco Cochrane, was unveiled Oct. 18 to a crowd of hundreds at the San Leandro Tech Campus. Days later, the Associated Press reported that the statue was “\u003ca href=\"http://www.sfgate.com/business/technology/article/A-giant-nude-statue-in-California-is-stirring-10018109.php#photo-11282519\" target=\"_blank\" rel=\"noopener\">stirring controversy\u003c/a>,” but besides the commuters that were quoted, few have protested publicly since the statue was installed.\u003c/p>\n\u003cp>Some outrage was expressed when plans for the statue were announced, in 2015. The \u003cem>San Leandro Times\u003c/em> received about four letters railing against the statue, including one from 79-year-old resident Gerry Isham (a woman who was repeatedly \u003ca href=\"http://hyperallergic.com/223589/truth-is-beauty-but-tacky-is-forever/\" target=\"_blank\" rel=\"noopener\"> and incorrectly identified as a man by the press\u003c/a>) that had the delicious quote, “Truth is beauty, but tacky is forever.”\u003c/p>\n\u003cp>“I really don’t think there is that much controversy,” \u003cem>San Leandro Times\u003c/em> editor Jim Knowles said. “I think people got a bad impression from a photo that ran. The photo was if the statue when it was out in the desert during Burning Man, when you could see it a hundred miles away. It just stood over everything and didn’t give an accurate picture of what it really looked like.”\u003c/p>\n\u003cfigure id=\"attachment_12256130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg\" alt='\"Truth Is Beauty\" at Burning Man 2013' width=\"800\" height=\"533\" class=\"size-medium wp-image-12256130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Truth Is Beauty” at Burning Man 2013. \u003ccite>(Photo: Eleanor Preger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a bigger controversy at the beginning, when people were first hearing about it,” Westlake Urban managing director Gaye Quinn said. “Then, as we were able to unpack the message behind the art, then it really started to resonate with people. We knew the controversy was lessening when women on Facebook started changing their profile pictures to shots of \u003cem>Truth Is Beauty\u003c/em>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The message behind \u003cem>Truth Is Beauty\u003c/em> to which Quinn refers is embodied by the question engraved in the statue’s base: “What would the world be like if women were safe?” \u003c/p>\n\u003cp>Cochrane first debuted the statue in 2013 at Burning Man, as part of a trio of sculptures named \u003cem>The Bliss Project.\u003c/em> Inspired by the abduction and rape of a neighborhood friend when he was a child, Cochrane says \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> that the project was intended to “de-objectify women and inspire men and women to take action to end violence against women, thus allowing both women and men to live fully and thrive.”\u003c/p>\n\u003cp>“I believe the world is out of balance and that we need to listen to women’s voices and understand their intent,” Cochrane said. “They do not speak up as often as men. I believe that one of the reasons for this is the systemic violence against women that has been present throughout history.”\u003c/p>\n\u003cp>Quinn came in contact with Cochrane last year while on a search for artwork that would help her company, Westlake Urban, fulfill its deal with the city of San Leandro to include public art in its development of the San Leandro Tech Campus. A friend of hers who regularly attended Burning Man tipped her off to Cochrane’s statue and, though it was in pieces the first time she saw it in his art studio on Treasure Island, it had a profound impact on her.\u003c/p>\n\u003cfigure id=\"attachment_12256132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg\" alt='\"Truth In Beauty\" being installed at San Leandro Tech Campus' width=\"800\" height=\"450\" class=\"size-medium wp-image-12256132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Truth In Beauty’ being installed at San Leandro Tech Campus. \u003ccite>(Photo: Sunny Tong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was just body parts — her head was over there on a shelf, her torso was on a giant rack, her feet were somewhere else. It was quite an experience,” Quinn said. “[But] you could see the artistry of it, even when it was in pieces. The elegance of her architecture, the structural design, the wire mesh, her skin… It’s exquisite.”\u003c/p>\n\u003cp>Cochrane was adamant that the message stay with the statue. After hearing several stories of sexual assault from local community members, Quinn’s company not only complied, they further translated it into 10 different languages — the 10 most commonly spoken languages in San Leandro.\u003c/p>\n\u003cp>“What people don’t realize is that San Leandro is the fifth most diverse city in the country. I think they speak 30 languages in the schools,” Quinn said. “After hearing stories from so many women, we realized that the message was the reason for the art, and we needed to tell that story.”\u003c/p>\n\u003cp>It took 18 months for the statue to be installed. As it stands now, the city has received no complaints about the statue, and Sbeydeh Walton, San Leandro’s communications and community relations director, said officials couldn’t take action against it anyway. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s privately owned by Westlake Urban and is on private land, and was purchased with private funds,” Walton said. “If people complain to us, there’s not much to complain about because we don’t own it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the suburban city of San Leandro, a 55-foot-tall statue of a naked woman dancing at a local technology park has turned a few heads since it was unveiled last Tuesday — especially at a nearby BART station, where the statue can be seen from the train platform. But despite reports, representatives from the group that installed the statue say it’s not as controversial as some may say. \u003c/p>\n\u003cp>The 13,000-pound, five-story steel mesh statue \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">\u003cem>Truth Is Beauty\u003c/em>\u003c/a>, by local sculptor Marco Cochrane, was unveiled Oct. 18 to a crowd of hundreds at the San Leandro Tech Campus. Days later, the Associated Press reported that the statue was “\u003ca href=\"http://www.sfgate.com/business/technology/article/A-giant-nude-statue-in-California-is-stirring-10018109.php#photo-11282519\" target=\"_blank\" rel=\"noopener\">stirring controversy\u003c/a>,” but besides the commuters that were quoted, few have protested publicly since the statue was installed.\u003c/p>\n\u003cp>Some outrage was expressed when plans for the statue were announced, in 2015. The \u003cem>San Leandro Times\u003c/em> received about four letters railing against the statue, including one from 79-year-old resident Gerry Isham (a woman who was repeatedly \u003ca href=\"http://hyperallergic.com/223589/truth-is-beauty-but-tacky-is-forever/\" target=\"_blank\" rel=\"noopener\"> and incorrectly identified as a man by the press\u003c/a>) that had the delicious quote, “Truth is beauty, but tacky is forever.”\u003c/p>\n\u003cp>“I really don’t think there is that much controversy,” \u003cem>San Leandro Times\u003c/em> editor Jim Knowles said. “I think people got a bad impression from a photo that ran. The photo was if the statue when it was out in the desert during Burning Man, when you could see it a hundred miles away. It just stood over everything and didn’t give an accurate picture of what it really looked like.”\u003c/p>\n\u003cfigure id=\"attachment_12256130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg\" alt='\"Truth Is Beauty\" at Burning Man 2013' width=\"800\" height=\"533\" class=\"size-medium wp-image-12256130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TruthIsBeauty_EleanorPreger_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Truth Is Beauty” at Burning Man 2013. \u003ccite>(Photo: Eleanor Preger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a bigger controversy at the beginning, when people were first hearing about it,” Westlake Urban managing director Gaye Quinn said. “Then, as we were able to unpack the message behind the art, then it really started to resonate with people. We knew the controversy was lessening when women on Facebook started changing their profile pictures to shots of \u003cem>Truth Is Beauty\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The message behind \u003cem>Truth Is Beauty\u003c/em> to which Quinn refers is embodied by the question engraved in the statue’s base: “What would the world be like if women were safe?” \u003c/p>\n\u003cp>Cochrane first debuted the statue in 2013 at Burning Man, as part of a trio of sculptures named \u003cem>The Bliss Project.\u003c/em> Inspired by the abduction and rape of a neighborhood friend when he was a child, Cochrane says \u003ca href=\"http://www.marcocochranesculpture.net/truth-is-beauty/\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> that the project was intended to “de-objectify women and inspire men and women to take action to end violence against women, thus allowing both women and men to live fully and thrive.”\u003c/p>\n\u003cp>“I believe the world is out of balance and that we need to listen to women’s voices and understand their intent,” Cochrane said. “They do not speak up as often as men. I believe that one of the reasons for this is the systemic violence against women that has been present throughout history.”\u003c/p>\n\u003cp>Quinn came in contact with Cochrane last year while on a search for artwork that would help her company, Westlake Urban, fulfill its deal with the city of San Leandro to include public art in its development of the San Leandro Tech Campus. A friend of hers who regularly attended Burning Man tipped her off to Cochrane’s statue and, though it was in pieces the first time she saw it in his art studio on Treasure Island, it had a profound impact on her.\u003c/p>\n\u003cfigure id=\"attachment_12256132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg\" alt='\"Truth In Beauty\" being installed at San Leandro Tech Campus' width=\"800\" height=\"450\" class=\"size-medium wp-image-12256132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/TIB-installation.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Truth In Beauty’ being installed at San Leandro Tech Campus. \u003ccite>(Photo: Sunny Tong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was just body parts — her head was over there on a shelf, her torso was on a giant rack, her feet were somewhere else. It was quite an experience,” Quinn said. “[But] you could see the artistry of it, even when it was in pieces. The elegance of her architecture, the structural design, the wire mesh, her skin… It’s exquisite.”\u003c/p>\n\u003cp>Cochrane was adamant that the message stay with the statue. After hearing several stories of sexual assault from local community members, Quinn’s company not only complied, they further translated it into 10 different languages — the 10 most commonly spoken languages in San Leandro.\u003c/p>\n\u003cp>“What people don’t realize is that San Leandro is the fifth most diverse city in the country. I think they speak 30 languages in the schools,” Quinn said. “After hearing stories from so many women, we realized that the message was the reason for the art, and we needed to tell that story.”\u003c/p>\n\u003cp>It took 18 months for the statue to be installed. As it stands now, the city has received no complaints about the statue, and Sbeydeh Walton, San Leandro’s communications and community relations director, said officials couldn’t take action against it anyway. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s privately owned by Westlake Urban and is on private land, and was purchased with private funds,” Walton said. “If people complain to us, there’s not much to complain about because we don’t own it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Propositions S and X Promise to Preserve SF's Cultural Landscape",
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"content": "\u003cp>\u003ca href=\"https://www.ybca.org/staff/jonathan-moscone\" target=\"_blank\" rel=\"noopener\">Jon Moscone \u003c/a>is chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA). He’s also pretty good at leading pep rallies, like the one he spoke at recently on behalf of \u003ca href=\"http://bettersf.com/\" target=\"_blank\" rel=\"noopener\">Proposition S\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290085707″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I want to make good on the promise that this city made in 1961, \u003ca href=\"http://sfgfta.org/about/history-and-purpose/\" target=\"_blank\" rel=\"noopener\">when it dedicated hotel tax to the arts \u003c/a>and then to low-income housing,” Moscone said to applause from an audience of around 100 arts leaders and homeless advocates gathered at YBCA in late September. “I want to restore that promise to the city of San Francisco. That’s because I love this city.”\u003c/p>\n\u003cp>Moscone spoke at the YBCA in his role as co-sponsor of Proposition S, which guarantees a share of the city’s hotel tax to arts groups and those working with homeless families — all without raising taxes on voters. In the crowd, for example, were representatives from the Asian Pacific Islander Cultural Center, Hospitality House, and the SRO Families United Collaborative.\u003c/p>\n\u003cp>San Francisco first imposed a hotel tax for the arts in 1961. But since the recession, the city has taken a growing slice of this $380 million fund for other uses in the general budget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If the link between arts groups and organizations working to improve the lives of homeless families sounds like an odd coupling, it’s not to \u003ca href=\"http://www.moadsf.org/about-us/our-staff/\" target=\"_blank\" rel=\"noopener\">Linda Harrison, executive director for the Museum of the African Diaspora\u003c/a>. Harrison was one of many arts leaders at the rally working to pass the measure.\u003c/p>\n\u003cp>“We can’t be an arts organization and ignore the fact that a kid on a school tour is hungry,” Harrison said. “And if they have a place to stay, now they have some calmness, and art and culture can be part of that.”\u003c/p>\n\u003cfigure id=\"attachment_12259643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12259643\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg\" alt=\"Homeless Prenatal Program Executive Director Martha Ryan\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homeless Prenatal Program Executive Director Martha Ryan \u003ccite>(Photo: Courtesy of Homless )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The measure’s co-sponsor is \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Martha Ryan, executive director at the Homeless Prenatal Program\u003c/a>, near San Francisco General Hospital. During a visit the other day, the receptionist counted out free diapers to give to a client — a mom with twins. Ryan believes Measure S will help to take the pressure off families living in poverty.\u003c/p>\n\u003cp>“If you’re living on a limited budget, and you have a child in diapers, you have to make the choice,” Ryan said. “Are you going to keep him in a dirty diaper, or are you going to buy food?”\u003c/p>\n\u003cp>Ryan’s program serves more than 4,000 families a year, and she says this demographic group is the fastest-growing segment of the city’s homeless population. So she makes no apologies for hoping voters approve a dedicated source of funds for groups like hers.\u003c/p>\n\u003cp>“Families need to have hope,” Ryan said. “If you don’t have hope, how can you put one foot in front of the other and expect it to be better the next day?”\u003c/p>\n\u003cp>There’s no official opposition to Proposition S. But the \u003ca href=\"http://www.sfchronicle.com/opinion/editorials/article/Chronicle-recommends-No-on-SF-Prop-S-9967725.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> recommends a no vote\u003c/a>, arguing that locking-in funding is bad public policy.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/7441\" target=\"_blank\" rel=\"noopener\">City Controller Ben Rosenfield notes another concern\u003c/a>. Proposition S would allocate about $103 million for arts and homeless services organizations by 2020, and that means less money for libraries, youth services and public transit. “So anything that increases an allocation for one good purpose is going to be by definition pulling it away for something that may be equally valuable,” Rosenfield said.\u003c/p>\n\u003cp>Proposition S is about money and allocating taxes. It needs a two-thirds margin to pass.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/6910\" target=\"_blank\" rel=\"noopener\">Proposition X,\u003c/a> meanwhile, is about preserving creative space. But it shares with S a concern about the changing character of San Francisco. Both measures promise a more compassionate, cultured, and diverse city.\u003c/p>\n\u003cfigure id=\"attachment_12259646\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12259646 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg\" alt=\"Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the advocates for Proposition X is Kevin McKracken, co-founder of South of Market’s \u003ca href=\"https://socialimprints.com\" target=\"_blank\" rel=\"noopener\">Social Imprints\u003c/a>, a company that makes everything from branded water bottles to tote bags.\u003c/p>\n\u003cp>On a recent visit, McKracken showed off his t-shirt screen printing line, and then stepped outside to show why city voters need to approve Proposition X. “Down here where you see that big piece of equipment moving, that is where our business sign was finished,” McKracken said. “You can see it’s empty now, under conversion to condos. The one next to it was a repair facility for tour buses and then for MUNI. That’s gone. That’s condos now.”\u003c/p>\n\u003cp>In the last five years, the Mission and South of Market neighborhoods have lost almost a million square feet of production, distribution and repair space (known as PDR space), including dozens of artist studios, as a result of the growth of new condos and office space.\u003c/p>\n\u003cfigure id=\"attachment_12256123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12256123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/007-800x603.jpg\" alt=\"Social Imprints, a small branding and print screening company in San Francisco's South of Market neighborhood\" width=\"800\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1920x1446.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1180x889.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-960x723.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Social Imprints, a small branding and print screening company in San Francisco’s South of Market neighborhood \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McKracken argues Proposition X would check that trend by requiring developers to include PDR spaces that might otherwise be displaced when they’re building new housing or corporate facilities.\u003c/p>\n\u003cp>“It keeps not just the culture diverse, but the economy diverse from an artistic standpoint,” McKracken said. “Because a lot of these guys are artists, and if they can afford to live here, they can continue to afford to do art here.”\u003c/p>\n\u003cp>\u003ca href=\"http://sfbos.org/supervisor-kim-district-6\" target=\"_blank\" rel=\"noopener\">Supervisor Jane Kim \u003c/a>and allies on the board put Proposition X on the ballot. She said the measure would save hundreds of jobs.\u003cbr>\n“Our middle class is getting evicted out of San Francisco; our manufacturing, auto repair shops and arts organizations are getting evicted out of San Francisco,” Kim said. “This legislation is working to address that very concern.”\u003c/p>\n\u003cp>But Proposition X has a crucial opponent. “This measure will backfire,” said \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">Kate Sofis, \u003c/a>founding executive director for \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">SFMade\u003c/a>, an organization aimed at promoting the interests of the city’s local manufacturers.\u003c/p>\n\u003cfigure id=\"attachment_12256346\" class=\"wp-caption alignright\" style=\"max-width: 475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12256346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg\" alt=\"Kate Sofis of SFMade\" width=\"475\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-520x376.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374.jpg 1922w\" sizes=\"(max-width: 475px) 100vw, 475px\">\u003cfigcaption class=\"wp-caption-text\">Kate Sofis of SFMade \u003ccite>(Photo: Courtesy of SFMade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofis said Kim never consulted the group and its members, who really don’t want to share space with housing in new developments. “They tend to be much more very expensive than existing industrial space because they’re new construction, and thus not really viable,” Sofis said.\u003c/p>\n\u003cp>Whatever the outcome, Propositions X and S show San Franciscans’ anxiety about what kind of city they want to live in — a concern shared by residents all over the Bay Area.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We will not be a great city if we do not understand the relationship between art, creativity, and quality of life,” said \u003ca href=\"https://ybca.org/staff/deborah-cullinan\" target=\"_blank\" rel=\"noopener\">Deborah Cullinan,\u003c/a> YBCA’s CEO and an advocate for Proposition S.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.ybca.org/staff/jonathan-moscone\" target=\"_blank\" rel=\"noopener\">Jon Moscone \u003c/a>is chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA). He’s also pretty good at leading pep rallies, like the one he spoke at recently on behalf of \u003ca href=\"http://bettersf.com/\" target=\"_blank\" rel=\"noopener\">Proposition S\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/290085707″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/290085707″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I want to make good on the promise that this city made in 1961, \u003ca href=\"http://sfgfta.org/about/history-and-purpose/\" target=\"_blank\" rel=\"noopener\">when it dedicated hotel tax to the arts \u003c/a>and then to low-income housing,” Moscone said to applause from an audience of around 100 arts leaders and homeless advocates gathered at YBCA in late September. “I want to restore that promise to the city of San Francisco. That’s because I love this city.”\u003c/p>\n\u003cp>Moscone spoke at the YBCA in his role as co-sponsor of Proposition S, which guarantees a share of the city’s hotel tax to arts groups and those working with homeless families — all without raising taxes on voters. In the crowd, for example, were representatives from the Asian Pacific Islander Cultural Center, Hospitality House, and the SRO Families United Collaborative.\u003c/p>\n\u003cp>San Francisco first imposed a hotel tax for the arts in 1961. But since the recession, the city has taken a growing slice of this $380 million fund for other uses in the general budget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the link between arts groups and organizations working to improve the lives of homeless families sounds like an odd coupling, it’s not to \u003ca href=\"http://www.moadsf.org/about-us/our-staff/\" target=\"_blank\" rel=\"noopener\">Linda Harrison, executive director for the Museum of the African Diaspora\u003c/a>. Harrison was one of many arts leaders at the rally working to pass the measure.\u003c/p>\n\u003cp>“We can’t be an arts organization and ignore the fact that a kid on a school tour is hungry,” Harrison said. “And if they have a place to stay, now they have some calmness, and art and culture can be part of that.”\u003c/p>\n\u003cfigure id=\"attachment_12259643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12259643\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg\" alt=\"Homeless Prenatal Program Executive Director Martha Ryan\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MARTHA-RYAN.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homeless Prenatal Program Executive Director Martha Ryan \u003ccite>(Photo: Courtesy of Homless )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The measure’s co-sponsor is \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Martha Ryan, executive director at the Homeless Prenatal Program\u003c/a>, near San Francisco General Hospital. During a visit the other day, the receptionist counted out free diapers to give to a client — a mom with twins. Ryan believes Measure S will help to take the pressure off families living in poverty.\u003c/p>\n\u003cp>“If you’re living on a limited budget, and you have a child in diapers, you have to make the choice,” Ryan said. “Are you going to keep him in a dirty diaper, or are you going to buy food?”\u003c/p>\n\u003cp>Ryan’s program serves more than 4,000 families a year, and she says this demographic group is the fastest-growing segment of the city’s homeless population. So she makes no apologies for hoping voters approve a dedicated source of funds for groups like hers.\u003c/p>\n\u003cp>“Families need to have hope,” Ryan said. “If you don’t have hope, how can you put one foot in front of the other and expect it to be better the next day?”\u003c/p>\n\u003cp>There’s no official opposition to Proposition S. But the \u003ca href=\"http://www.sfchronicle.com/opinion/editorials/article/Chronicle-recommends-No-on-SF-Prop-S-9967725.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> recommends a no vote\u003c/a>, arguing that locking-in funding is bad public policy.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/7441\" target=\"_blank\" rel=\"noopener\">City Controller Ben Rosenfield notes another concern\u003c/a>. Proposition S would allocate about $103 million for arts and homeless services organizations by 2020, and that means less money for libraries, youth services and public transit. “So anything that increases an allocation for one good purpose is going to be by definition pulling it away for something that may be equally valuable,” Rosenfield said.\u003c/p>\n\u003cp>Proposition S is about money and allocating taxes. It needs a two-thirds margin to pass.\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/elections/file/6910\" target=\"_blank\" rel=\"noopener\">Proposition X,\u003c/a> meanwhile, is about preserving creative space. But it shares with S a concern about the changing character of San Francisco. Both measures promise a more compassionate, cultured, and diverse city.\u003c/p>\n\u003cfigure id=\"attachment_12259646\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12259646 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg\" alt=\"Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin McKracken inspects his t-shirt screen printing line at Social Imprints, a branding company South of Market. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the advocates for Proposition X is Kevin McKracken, co-founder of South of Market’s \u003ca href=\"https://socialimprints.com\" target=\"_blank\" rel=\"noopener\">Social Imprints\u003c/a>, a company that makes everything from branded water bottles to tote bags.\u003c/p>\n\u003cp>On a recent visit, McKracken showed off his t-shirt screen printing line, and then stepped outside to show why city voters need to approve Proposition X. “Down here where you see that big piece of equipment moving, that is where our business sign was finished,” McKracken said. “You can see it’s empty now, under conversion to condos. The one next to it was a repair facility for tour buses and then for MUNI. That’s gone. That’s condos now.”\u003c/p>\n\u003cp>In the last five years, the Mission and South of Market neighborhoods have lost almost a million square feet of production, distribution and repair space (known as PDR space), including dozens of artist studios, as a result of the growth of new condos and office space.\u003c/p>\n\u003cfigure id=\"attachment_12256123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12256123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/007-800x603.jpg\" alt=\"Social Imprints, a small branding and print screening company in San Francisco's South of Market neighborhood\" width=\"800\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1920x1446.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-1180x889.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-960x723.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/007-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Social Imprints, a small branding and print screening company in San Francisco’s South of Market neighborhood \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McKracken argues Proposition X would check that trend by requiring developers to include PDR spaces that might otherwise be displaced when they’re building new housing or corporate facilities.\u003c/p>\n\u003cp>“It keeps not just the culture diverse, but the economy diverse from an artistic standpoint,” McKracken said. “Because a lot of these guys are artists, and if they can afford to live here, they can continue to afford to do art here.”\u003c/p>\n\u003cp>\u003ca href=\"http://sfbos.org/supervisor-kim-district-6\" target=\"_blank\" rel=\"noopener\">Supervisor Jane Kim \u003c/a>and allies on the board put Proposition X on the ballot. She said the measure would save hundreds of jobs.\u003cbr>\n“Our middle class is getting evicted out of San Francisco; our manufacturing, auto repair shops and arts organizations are getting evicted out of San Francisco,” Kim said. “This legislation is working to address that very concern.”\u003c/p>\n\u003cp>But Proposition X has a crucial opponent. “This measure will backfire,” said \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">Kate Sofis, \u003c/a>founding executive director for \u003ca href=\"http://www.sfmade.org/\" target=\"_blank\" rel=\"noopener\">SFMade\u003c/a>, an organization aimed at promoting the interests of the city’s local manufacturers.\u003c/p>\n\u003cfigure id=\"attachment_12256346\" class=\"wp-caption alignright\" style=\"max-width: 475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12256346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg\" alt=\"Kate Sofis of SFMade\" width=\"475\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374-520x376.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kate-Sofis-of-SF-Made-e1477503846374.jpg 1922w\" sizes=\"(max-width: 475px) 100vw, 475px\">\u003cfigcaption class=\"wp-caption-text\">Kate Sofis of SFMade \u003ccite>(Photo: Courtesy of SFMade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofis said Kim never consulted the group and its members, who really don’t want to share space with housing in new developments. “They tend to be much more very expensive than existing industrial space because they’re new construction, and thus not really viable,” Sofis said.\u003c/p>\n\u003cp>Whatever the outcome, Propositions X and S show San Franciscans’ anxiety about what kind of city they want to live in — a concern shared by residents all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We will not be a great city if we do not understand the relationship between art, creativity, and quality of life,” said \u003ca href=\"https://ybca.org/staff/deborah-cullinan\" target=\"_blank\" rel=\"noopener\">Deborah Cullinan,\u003c/a> YBCA’s CEO and an advocate for Proposition S.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> San Francisco filmmaker Kevin Epps will not be charged in the fatal shooting of a man in his Glen Park home. The district attorney’s office tells KQED “There is insufficient evidence to charge the case at this time. The case remains under investigation.”\u003c/p>\n\u003cp>A video was posted to Epps’ \u003ca href=\"https://www.instagram.com/p/BMB4cpcgC-B/?taken-by=kevinepps1\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a> Wednesday morning, tagged God is great #freshout , let me live. Blacklivesmatter#kevinepps I love my kids #kamaridakid @musicallytied. In the video, Epps can be heard to say “Man, it’s good to be out. This is a blessing.”\u003c/p>\n\u003cp>San Francisco police arrested Epps in connection with a fatal shooting in the Glen Park neighborhood Monday afternoon.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290159024″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Paramedics who responded to the scene declared the victim, a man in his 40s, dead by gunshot. Neither the SFPD nor the Coroner’s office has identified the man, but the victim’s son, Marcus Polk, Jr, told \u003ca href=\"http://www.nbcbayarea.com/news/local/SFPD-Investigating-Homicide-in-Glen-Park-398264461.html\" target=\"_blank\" rel=\"noopener\">NBC Bay Area\u003c/a> it was his dad and that the two men, Polk, Sr. and Epps, argued before the shooting. \u003ca href=\"http://sanfrancisco.cbslocal.com/video/category/news/3566872-san-francisco-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">CBS reported\u003c/a> Epps is married to the woman Marcus Polk, Sr, used to be married to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the details of what happened Monday are still unclear, friends of Epps have been tweeting in sympathy.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Prayers up☝ for the brother \u003ca href=\"https://twitter.com/kevinepps\">@kevinepps\u003c/a> and his family ????????\u003c/p>\n\u003cp>— Khalid A.White, Ed.D (@brother_white) \u003ca href=\"https://twitter.com/brother_white/status/790924978321403908\">October 25, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Epps rose to fame in 2003 after producing and directing the documentary \u003ca href=\"http://www.imdb.com/name/nm1338821/bio?ref_=nm_ov_bio_sm\">\u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/a> The critically acclaimed film focused on the gang life and violence in one of San Francisco’s roughest neighborhoods. He followed it in 2014 with \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2012/02/23/with_straight_outta_hunters_point_2_filmmaker_kevin_epps_goes/\" target=\"_blank\" rel=\"noopener\">Straight Outta Hunters Point 2\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Over the years, Epps became a community activist focused on the African-American experience in the San Francisco Bay Area. His other films include \u003ca href=\"http://www.imdb.com/title/tt3492470/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener\">\u003ci>Rap Dreams\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt4369060/?ref_=nm_ov_bio_lk3\" target=\"_blank\" rel=\"noopener\">\u003ci>The Black Rock AKA Black Alcatraz\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Epps remains best known as an ambassador for the neighborhood he grew up in. In a \u003ca href=\"http://archives.sfweekly.com/exhibitionist/2012/02/24/kevin-epps-on-his-life-changing-straight-outta-hunters-point-documentaries\" target=\"_blank\" rel=\"noopener\">2012 interview\u003c/a> with \u003cem>SF Weekly\u003c/em>, Epps said, “I was able to showcase the film at all these different film festivals and people that would never know about Bayview-Hunters Point could get a view of it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5bvDqVzoTdI\u003c/p>\n\u003cp>Rudy Corpuz, Jr, heads the violence prevention program \u003ca href=\"http://unitedplayaz.com/\" target=\"_blank\" rel=\"noopener\">United Playaz\u003c/a>, where Epps recently hosted a workshop for teens on entrepreneurship. “Everything he talked about was about growth,” Corpuz says. “It was about development. It was about building your spirit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Corpuz adds he knows Epps to be the kind of guy who would neutralize heated situations, not escalate them. But with so few details available, Corpuz can only wait to find out what really happened.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> San Francisco filmmaker Kevin Epps will not be charged in the fatal shooting of a man in his Glen Park home. The district attorney’s office tells KQED “There is insufficient evidence to charge the case at this time. The case remains under investigation.”\u003c/p>\n\u003cp>A video was posted to Epps’ \u003ca href=\"https://www.instagram.com/p/BMB4cpcgC-B/?taken-by=kevinepps1\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a> Wednesday morning, tagged God is great #freshout , let me live. Blacklivesmatter#kevinepps I love my kids #kamaridakid @musicallytied. In the video, Epps can be heard to say “Man, it’s good to be out. This is a blessing.”\u003c/p>\n\u003cp>San Francisco police arrested Epps in connection with a fatal shooting in the Glen Park neighborhood Monday afternoon.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/290159024″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/290159024″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Paramedics who responded to the scene declared the victim, a man in his 40s, dead by gunshot. Neither the SFPD nor the Coroner’s office has identified the man, but the victim’s son, Marcus Polk, Jr, told \u003ca href=\"http://www.nbcbayarea.com/news/local/SFPD-Investigating-Homicide-in-Glen-Park-398264461.html\" target=\"_blank\" rel=\"noopener\">NBC Bay Area\u003c/a> it was his dad and that the two men, Polk, Sr. and Epps, argued before the shooting. \u003ca href=\"http://sanfrancisco.cbslocal.com/video/category/news/3566872-san-francisco-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">CBS reported\u003c/a> Epps is married to the woman Marcus Polk, Sr, used to be married to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the details of what happened Monday are still unclear, friends of Epps have been tweeting in sympathy.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Prayers up☝ for the brother \u003ca href=\"https://twitter.com/kevinepps\">@kevinepps\u003c/a> and his family ????????\u003c/p>\n\u003cp>— Khalid A.White, Ed.D (@brother_white) \u003ca href=\"https://twitter.com/brother_white/status/790924978321403908\">October 25, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Epps rose to fame in 2003 after producing and directing the documentary \u003ca href=\"http://www.imdb.com/name/nm1338821/bio?ref_=nm_ov_bio_sm\">\u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/a> The critically acclaimed film focused on the gang life and violence in one of San Francisco’s roughest neighborhoods. He followed it in 2014 with \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2012/02/23/with_straight_outta_hunters_point_2_filmmaker_kevin_epps_goes/\" target=\"_blank\" rel=\"noopener\">Straight Outta Hunters Point 2\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Over the years, Epps became a community activist focused on the African-American experience in the San Francisco Bay Area. His other films include \u003ca href=\"http://www.imdb.com/title/tt3492470/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener\">\u003ci>Rap Dreams\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt4369060/?ref_=nm_ov_bio_lk3\" target=\"_blank\" rel=\"noopener\">\u003ci>The Black Rock AKA Black Alcatraz\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Epps remains best known as an ambassador for the neighborhood he grew up in. In a \u003ca href=\"http://archives.sfweekly.com/exhibitionist/2012/02/24/kevin-epps-on-his-life-changing-straight-outta-hunters-point-documentaries\" target=\"_blank\" rel=\"noopener\">2012 interview\u003c/a> with \u003cem>SF Weekly\u003c/em>, Epps said, “I was able to showcase the film at all these different film festivals and people that would never know about Bayview-Hunters Point could get a view of it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5bvDqVzoTdI'\n title='//www.youtube.com/embed/5bvDqVzoTdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rudy Corpuz, Jr, heads the violence prevention program \u003ca href=\"http://unitedplayaz.com/\" target=\"_blank\" rel=\"noopener\">United Playaz\u003c/a>, where Epps recently hosted a workshop for teens on entrepreneurship. “Everything he talked about was about growth,” Corpuz says. “It was about development. It was about building your spirit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Corpuz adds he knows Epps to be the kind of guy who would neutralize heated situations, not escalate them. But with so few details available, Corpuz can only wait to find out what really happened.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "David Byrne's Theatrical Thought Experiment in Silicon Valley",
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"content": "\u003cp>The first room is entirely white, including white floors so glossy you feel you should take your shoes off. A semicircle of white leather lounge chairs surrounds a stage screened off with a see-through white curtain. My first reaction? It looks like a nail salon run by Barbarella.\u003c/p>\n\u003cp>“That’s it. Yes, yes!” laughs \u003ca href=\"http://www.davidbyrne.com\" target=\"_blank\" rel=\"noopener\">David Byrne\u003c/a>, my tour guide through this surreal space. Then he adds, “We don’t do nails. You get embodied in the body of a doll in this room.”\u003c/p>\n\u003cp>Byrne — yes, of Talking Heads fame and many other creative achievements — is walking me through his latest project, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">The Institute Presents: Neurosociety\u003c/a>. \u003c/em>It’s an immersive, participatory theater performance at Pace Art + Technology in Menlo Park, one of three Silicon Valley-based art spaces occupied by the New York-based Pace art gallery chain. The multi-room installation makes you, the visitor, a participant in a series of “scientific experiments” focused on how the human brain perceives what it senses, comes to conclusions, and then acts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302366505″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>‘What you see might not actually be what’s out there’\u003c/h3>\n\u003cp>In the room we’re standing in, the doll is topped by two cameras instead of a head. When you don a virtual reality headset, you can see what the doll sees. This has the effect of fooling your brain into adopting the doll’s perspective. The idea for this trick comes from \u003ca href=\"http://www.ehrssonlab.se/\" target=\"_blank\" rel=\"noopener\">Group Ehrsson\u003c/a>, a neuroscience research firm based in Sweden, which did the very same thing in a lab much less sexy than this space.\u003c/p>\n\u003cfigure id=\"attachment_12236391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg\" alt=\"Based on research from the Ehrsson Lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains' body awareness can be manipulated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Based on research from the Ehrsson lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains’ body awareness can be manipulated. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is an avid fan of science. “I’d read about certain experiments that labs had done, and my immediate thought was ‘I want to do that,'” he says. “I want to be the subject. I want to see what that’s like.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together with his friend, technology investor\u003cstrong> \u003c/strong>Mala Gaonkar, Byrne visited 35 research labs around the world to hear about the latest developments in cognitive neuroscience. Their conversations ranged from how your brain figures out where it is in space, to more complicated questions about how your sense of affinity with other human beings affects your moral judgement.\u003c/p>\n\u003cp>“What you see might not actually be what’s out there,” says Gaonkar. “And what you feel, including your deepest sense of identity, might not actually be what’s out there.”\u003c/p>\n\u003cfigure id=\"attachment_12236393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236393\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg\" alt=\"Perhaps the most disturbed experiment happens in a room set up like a TV game show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perhaps the most disturbed experiment happens in a room set up like a TV game show. \u003ccite>(Photo: Courtesy of Kenny Komer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neural Science Professor Paul Glimcher leads the \u003ca href=\"http://kavlihumanproject.org\" target=\"_blank\" rel=\"noopener\">Kavli HUMAN Project\u003c/a> at New York University, an interdisciplinary research group focused on decision-making in humans from a public policy perspective. He was among the scientists interviewed by Byrne and Gaonkar as they sought to educate themselves about cognitive neuroscience for their art project.\u003c/p>\n\u003cp>“David and Mala have designed a set of experiences that really lay bare the nature of our human experiences in areas ranging from perception to decision-making,” Glimcher says.\u003c/p>\n\u003ch3>What if you were a drone pilot?\u003c/h3>\n\u003cp>In another part of the installation, Byrne and Gaonkar have visitors watch a scene from the movie \u003ca href=\"https://www.youtube.com/watch?v=MBCeP_i9BxI\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye in the Sky\u003c/em>\u003c/a>. In it, military commanders tell a drone pilot there are terrorists in a particular house, plotting a suicide bombing. He must blow the building up.\u003c/p>\n\u003cp>“You are cleared to engage, lieutenant,” says Colonel Katherine Powell, played by British actor Helen Mirren. But outside, there appears to be an innocent civilian, a woman preparing to sell bread. The drone pilot hesitates.\u003c/p>\n\u003cp>“Those men are about to disperse. Engage now!” Colonel Powell barks.\u003c/p>\n\u003cp>It’s a disturbing scene, and Byrne and Gaonkar want you to imagine yourself as that drone pilot, making that awful, split-second decision of life and death.\u003c/p>\n\u003cp>They also want to play with the nature of the moral dilemma.\u003c/p>\n\u003cfigure id=\"attachment_12250032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12250032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg\" alt=\"David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases - without being preachy about it.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases – without being preachy about it. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We start bringing it closer and closer and closer,” explains Byrne. Finally, the scene morphs so that we see a kid selling lemonade in front of a house on University Avenue in Palo Alto, instead of the bread seller in some far-off country. What fascinates Byrne is that people will change their response as to whether they’d blow up the building, and then retroactively search for justifications to explain why.\u003c/p>\n\u003ch3>Had this been a real science experiment…\u003c/h3>\n\u003cp>While the “experiments” at Pace draw on real research, this is theater, first and foremost. The situations don’t attach in lock step to specific studies Byrne and Gaonkar explored. Rather, the pair used their explorations to come up with something that evokes the same sense of wonder and surprise you might have as a study subject in an actual science lab.\u003c/p>\n\u003cp>At the end of their visit, visitors will get the results of these experiments, and the information will be shared with participating labs — though the labs have no plans to use the data. “This is really about sparking a discussion, as opposed to hardcore science,” Goankar says.\u003c/p>\n\u003cfigure id=\"attachment_12236394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg\" alt='David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies \"really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies “really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is convinced the installation will be transformative. “It really does change how you think about things, how you think about what we are and how we react and how make decisions and how we are in the world,” Byrne says. “It’s a bit pretentious to imagine that’s going to happen for everybody who goes through this, but it certainly happened to us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Institute Presents: Neurosociety’ continues through March 31, 2017, at Pace Art+Technology in Menlo Park. See \u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for tickets and more information.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first room is entirely white, including white floors so glossy you feel you should take your shoes off. A semicircle of white leather lounge chairs surrounds a stage screened off with a see-through white curtain. My first reaction? It looks like a nail salon run by Barbarella.\u003c/p>\n\u003cp>“That’s it. Yes, yes!” laughs \u003ca href=\"http://www.davidbyrne.com\" target=\"_blank\" rel=\"noopener\">David Byrne\u003c/a>, my tour guide through this surreal space. Then he adds, “We don’t do nails. You get embodied in the body of a doll in this room.”\u003c/p>\n\u003cp>Byrne — yes, of Talking Heads fame and many other creative achievements — is walking me through his latest project, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">The Institute Presents: Neurosociety\u003c/a>. \u003c/em>It’s an immersive, participatory theater performance at Pace Art + Technology in Menlo Park, one of three Silicon Valley-based art spaces occupied by the New York-based Pace art gallery chain. The multi-room installation makes you, the visitor, a participant in a series of “scientific experiments” focused on how the human brain perceives what it senses, comes to conclusions, and then acts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/302366505″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/302366505″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>‘What you see might not actually be what’s out there’\u003c/h3>\n\u003cp>In the room we’re standing in, the doll is topped by two cameras instead of a head. When you don a virtual reality headset, you can see what the doll sees. This has the effect of fooling your brain into adopting the doll’s perspective. The idea for this trick comes from \u003ca href=\"http://www.ehrssonlab.se/\" target=\"_blank\" rel=\"noopener\">Group Ehrsson\u003c/a>, a neuroscience research firm based in Sweden, which did the very same thing in a lab much less sexy than this space.\u003c/p>\n\u003cfigure id=\"attachment_12236391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg\" alt=\"Based on research from the Ehrsson Lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains' body awareness can be manipulated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Based on research from the Ehrsson lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains’ body awareness can be manipulated. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is an avid fan of science. “I’d read about certain experiments that labs had done, and my immediate thought was ‘I want to do that,'” he says. “I want to be the subject. I want to see what that’s like.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together with his friend, technology investor\u003cstrong> \u003c/strong>Mala Gaonkar, Byrne visited 35 research labs around the world to hear about the latest developments in cognitive neuroscience. Their conversations ranged from how your brain figures out where it is in space, to more complicated questions about how your sense of affinity with other human beings affects your moral judgement.\u003c/p>\n\u003cp>“What you see might not actually be what’s out there,” says Gaonkar. “And what you feel, including your deepest sense of identity, might not actually be what’s out there.”\u003c/p>\n\u003cfigure id=\"attachment_12236393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236393\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg\" alt=\"Perhaps the most disturbed experiment happens in a room set up like a TV game show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perhaps the most disturbed experiment happens in a room set up like a TV game show. \u003ccite>(Photo: Courtesy of Kenny Komer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neural Science Professor Paul Glimcher leads the \u003ca href=\"http://kavlihumanproject.org\" target=\"_blank\" rel=\"noopener\">Kavli HUMAN Project\u003c/a> at New York University, an interdisciplinary research group focused on decision-making in humans from a public policy perspective. He was among the scientists interviewed by Byrne and Gaonkar as they sought to educate themselves about cognitive neuroscience for their art project.\u003c/p>\n\u003cp>“David and Mala have designed a set of experiences that really lay bare the nature of our human experiences in areas ranging from perception to decision-making,” Glimcher says.\u003c/p>\n\u003ch3>What if you were a drone pilot?\u003c/h3>\n\u003cp>In another part of the installation, Byrne and Gaonkar have visitors watch a scene from the movie \u003ca href=\"https://www.youtube.com/watch?v=MBCeP_i9BxI\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye in the Sky\u003c/em>\u003c/a>. In it, military commanders tell a drone pilot there are terrorists in a particular house, plotting a suicide bombing. He must blow the building up.\u003c/p>\n\u003cp>“You are cleared to engage, lieutenant,” says Colonel Katherine Powell, played by British actor Helen Mirren. But outside, there appears to be an innocent civilian, a woman preparing to sell bread. The drone pilot hesitates.\u003c/p>\n\u003cp>“Those men are about to disperse. Engage now!” Colonel Powell barks.\u003c/p>\n\u003cp>It’s a disturbing scene, and Byrne and Gaonkar want you to imagine yourself as that drone pilot, making that awful, split-second decision of life and death.\u003c/p>\n\u003cp>They also want to play with the nature of the moral dilemma.\u003c/p>\n\u003cfigure id=\"attachment_12250032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12250032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg\" alt=\"David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases - without being preachy about it.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases – without being preachy about it. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We start bringing it closer and closer and closer,” explains Byrne. Finally, the scene morphs so that we see a kid selling lemonade in front of a house on University Avenue in Palo Alto, instead of the bread seller in some far-off country. What fascinates Byrne is that people will change their response as to whether they’d blow up the building, and then retroactively search for justifications to explain why.\u003c/p>\n\u003ch3>Had this been a real science experiment…\u003c/h3>\n\u003cp>While the “experiments” at Pace draw on real research, this is theater, first and foremost. The situations don’t attach in lock step to specific studies Byrne and Gaonkar explored. Rather, the pair used their explorations to come up with something that evokes the same sense of wonder and surprise you might have as a study subject in an actual science lab.\u003c/p>\n\u003cp>At the end of their visit, visitors will get the results of these experiments, and the information will be shared with participating labs — though the labs have no plans to use the data. “This is really about sparking a discussion, as opposed to hardcore science,” Goankar says.\u003c/p>\n\u003cfigure id=\"attachment_12236394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg\" alt='David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies \"really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies “really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is convinced the installation will be transformative. “It really does change how you think about things, how you think about what we are and how we react and how make decisions and how we are in the world,” Byrne says. “It’s a bit pretentious to imagine that’s going to happen for everybody who goes through this, but it certainly happened to us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Institute Presents: Neurosociety’ continues through March 31, 2017, at Pace Art+Technology in Menlo Park. See \u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for tickets and more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays",
"headTitle": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays | KQED",
"content": "\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Oxford University Press will list both William Shakespeare and Christopher Marlowe as co-authors of the three 'Henry VI' plays in its newest complete edition of Shakespeare's work.",
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"description": "Oxford University Press will list both William Shakespeare and Christopher Marlowe as co-authors of the three 'Henry VI' plays in its newest complete edition of Shakespeare's work.",
"title": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays | KQED",
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"headline": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289753182\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/289753182&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/289753182'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kevin Meaney, a comic’s comic who worked the standup circuit, was a staple on late-night TV and starred in the short-lived 1990s CBS series \u003cem>Uncle Buck\u003c/em>, has died at age 60, his agent said Saturday.\u003c/p>\n\u003cp>Meaney was found dead Friday at his home in Forestburgh, in upstate New York, said the agent, Tom Ingegno. The cause of death was not immediately known.\u003c/p>\n\u003cp>Meaney’s career spanned 30 years. The father and native New Yorker had a small role as an executive in the 1988 film comedy \u003cem>Big\u003c/em>, starring Tom Hanks, and helmed the CBS version of \u003cem>Uncle Buck\u003c/em>, which ran just one season, from 1990 to 1991.\u003c/p>\n\u003cp>It was his first HBO special, in 1986, that launched his comedy career after he toiled doing standup in San Francisco and Boston. In 1987, he took his first turn on \u003cem>The Tonight Show with Johnny Carson\u003c/em>. He also appeared as a guest on \u003cem>Saturday Night Live\u003c/em> and on shows including those hosted by David Letterman, Oprah Winfrey and Conan O’Brien.\u003c/p>\n\u003cp>Condolences poured in via social media from Meaney’s fellow comedians, including this on Twitter from Kevin Nealon, who referenced one of Meaney’s favorite topics, his judgmental, high-strung parents:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So sorry to hear about the passing of comedian Kevin Meaney. He made me laugh hard. What a talent and nice guy. Truly ‘big pants people.'”\u003c/p>\n\u003cp>Meaney was also known for his raucous “I Don’t Care” song in standup routines that had him dancing and waving around one arm: “I don’t care. I don’t care. My jokes don’t go over, I don’t care!”\u003c/p>\n\u003cp>Bob Saget, Judd Apatow, Patton Oswalt and Michael McKean were among others to laud Meaney for his acting, standup chops and sweet personality.\u003c/p>\n\u003cp>“Kevin Meaney was as funny as they get and the nicest man. He could make you lose your mind laughing. A very special person,” Apatow tweeted.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kevin Meaney, a comic’s comic who worked the standup circuit, was a staple on late-night TV and starred in the short-lived 1990s CBS series \u003cem>Uncle Buck\u003c/em>, has died at age 60, his agent said Saturday.\u003c/p>\n\u003cp>Meaney was found dead Friday at his home in Forestburgh, in upstate New York, said the agent, Tom Ingegno. The cause of death was not immediately known.\u003c/p>\n\u003cp>Meaney’s career spanned 30 years. The father and native New Yorker had a small role as an executive in the 1988 film comedy \u003cem>Big\u003c/em>, starring Tom Hanks, and helmed the CBS version of \u003cem>Uncle Buck\u003c/em>, which ran just one season, from 1990 to 1991.\u003c/p>\n\u003cp>It was his first HBO special, in 1986, that launched his comedy career after he toiled doing standup in San Francisco and Boston. In 1987, he took his first turn on \u003cem>The Tonight Show with Johnny Carson\u003c/em>. He also appeared as a guest on \u003cem>Saturday Night Live\u003c/em> and on shows including those hosted by David Letterman, Oprah Winfrey and Conan O’Brien.\u003c/p>\n\u003cp>Condolences poured in via social media from Meaney’s fellow comedians, including this on Twitter from Kevin Nealon, who referenced one of Meaney’s favorite topics, his judgmental, high-strung parents:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So sorry to hear about the passing of comedian Kevin Meaney. He made me laugh hard. What a talent and nice guy. Truly ‘big pants people.'”\u003c/p>\n\u003cp>Meaney was also known for his raucous “I Don’t Care” song in standup routines that had him dancing and waving around one arm: “I don’t care. I don’t care. My jokes don’t go over, I don’t care!”\u003c/p>\n\u003cp>Bob Saget, Judd Apatow, Patton Oswalt and Michael McKean were among others to laud Meaney for his acting, standup chops and sweet personality.\u003c/p>\n\u003cp>“Kevin Meaney was as funny as they get and the nicest man. He could make you lose your mind laughing. A very special person,” Apatow tweeted.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a small classroom-turned-theater space at San Francisco’s City College, Nataly Ortiz and Stephanie Tomasulo are in the throes of rehearsing Paul S. Flores’ new play, \u003cem>On the Hill\u003c/em>.\u003c/p>\n\u003cp>Ortiz plays Tomasulo’s great grandmother, who is grieving for the loss of her daughter. She’s a few words into the scene, script tightly in hand, when Flores interrupts her.\u003c/p>\n\u003cp>“‘We are \u003ci>Guerreros\u003c/i>,’” Flores says, repeating the actor’s line back at her to emphasize the rolling r’s. “You have to say it right.”\u003c/p>\n\u003cp>Adherence to a script is more than just professional practice. In \u003cem>On The Hill\u003c/em>, staged by local youth performing arts organization Loco Bloco, Flores takes his cues from a tragedy close to home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7jSGy-BnX-U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}