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"title": "Reading Gaol, Where Oscar Wilde was Imprisoned, Unlocks Its Gates for Art",
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"content": "\u003cp>Beneath Gothic arches and metal walkways, a place of torment has been reclaimed as a place of creative ferment. In 1895, celebrated writer Oscar Wilde — author of \u003cem>The Importance of Being Earnest\u003c/em> and \u003cem>The Picture of Dorian Gray —\u003c/em> was convicted of homosexual activity and sentenced to two years in the infamous Reading Gaol.\u003c/p>\n\u003cp>The British prison, which was operational until 2013, has just reopened for an unusual art exhibition; \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">“Inside”\u003c/a> features installations and texts inspired by the prison and Wilde’s experiences there.\u003c/p>\n\u003cp>Cells where solitary prisoners counted down the days are now filled with art. In one, artist and film director Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. In another, a river flows through the torso of a woman in a diorama by American sculptor Robert Gober. In another, Wilde and his lover, Lord Alfred Douglas, known as Bosie, are reunited in a diptych by Marlene Dumas. The organization behind it all is called \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">Artangel\u003c/a> — it specializes in bringing cutting-edge art into unused and unusual spaces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"200\" height=\"133\" class=\"aligncenter size-full wp-image-12236594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cfigure id=\"attachment_12236992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, nearly 100 years after Wilde was imprisoned in Reading Gaol, Gawain Davis spent three months in the prison for cannabis possession. Leaning over a display case of mug shots of Wilde’s fellow prisoners, Davis observes: “They look like the same sort of people that I was back in here with, 100 years later!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Wilde, Davis spent 23 hours a day in his cell. The only sanitation was a bucket he had to empty — or “slop out” — himself: “You were unlocked, let down for breakfast, locked back up again to eat it, unlocked again to slop out, to empty the bucket, then locked up again,” Davis recalls.\u003c/p>\n\u003cp>A miserable existence for sure, but Davis says Wilde had it worse — in Wilde’s day, prisoners weren’t even allowed to talk.\u003c/p>\n\u003cp>When Wilde arrived, Reading Gaol was one great Victorian machine of Christian penance, forcing prisoners to meditate on their crimes in silence, while performing physical labor amid the reek of their own waste.\u003c/p>\n\u003cp>The privations broke Wilde — but they also inspired his last work, \u003ca href=\"https://www.poets.org/poetsorg/poem/ballad-reading-gaol\" target=\"_blank\" rel=\"noopener\">“The Ballad of Reading Gaol,”\u003c/a> which was written after his release. In those two years behind bars, letters were all he was permitted to write.\u003c/p>\n\u003cp>Several cells are filled with the sounds of “Letters of Separation,” named after this form of imprisonment. In one cell, artist Ai Wei Wei is heard reading aloud a letter to his son about his imprisonment in China. In another, playwright Gillian Slovo addresses her dead mother, Ruth First, who was imprisoned and then assassinated under South Africa’s Apartheid regime.\u003c/p>\n\u003cp>All the letters honor the one that inspired them: Wilde’s \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — “from the depths” — the 50,000-word letter he wrote to Bosie, his lover and betrayer.\u003c/p>\n\u003cp>Every Sunday, a different performer reads the entire 6-hour text aloud, in front of the original door to Wilde’s cell. Artangel co-director James Lingwood says it wasn’t hard to enlist an A-list cast of readers — including Ralph Fiennes, Ben Whishaw and Patti Smith; all they had to do was reach out to those who’ve cited Wilde as an influence.\u003c/p>\n\u003cfigure id=\"attachment_12236596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg\" alt=\"Wilde's cell door is exhibited in the prison chapel. Every Sunday, performers read <a href="https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde" target="_blank">De Profundis</a> — Wilde's 50,000-word letter he wrote while incarcerate\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilde’s cell door is exhibited in the prison chapel. Every Sunday, performers read \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — Wilde’s 50,000-word letter he wrote while incarcerate \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Almost without any exception they embraced the idea,” Lingwood says. “Because when else would you get the chance to kind of come to terms and pay homage to Oscar Wilde within the very place where he wrote this compelling, extended love letter?”\u003c/p>\n\u003cp>Lingwood has been struck by how much time visitors are spending at the exhibition. Jenny Welsh, a retired chaplain who’s worked at other prisons, traveled 40 miles to visit the jail. She found that the artwork that evoked the isolation of imprisonment was particularly powerful for her.\u003c/p>\n\u003cp>Her husband, Phillip Welsh, a retired clergyman, says the highlight for him was the renewed sense of connection with Wilde.\u003c/p>\n\u003cp>“It was standing in his cell and looking out at the same window and seeing the same patch of sky that he wrote about,” he says.\u003c/p>\n\u003cp>Wilde’s cell — number C33 — is the only one without an original art work. In one corner, visitors have left some flowers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in a sense, this entire exhibition is a floral offering to an artist seen as a martyr for loving, and living, in the wrong time, and the wrong place. \u003c/p>\n\u003cfigure id=\"attachment_12236592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg\" alt=\"Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition. \u003ccite>(Photo: Justin Tallis/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reading+Gaol%2C+Where+Oscar+Wilde+Was+Imprisoned%2C+Unlocks+Its+Gates+For+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beneath Gothic arches and metal walkways, a place of torment has been reclaimed as a place of creative ferment. In 1895, celebrated writer Oscar Wilde — author of \u003cem>The Importance of Being Earnest\u003c/em> and \u003cem>The Picture of Dorian Gray —\u003c/em> was convicted of homosexual activity and sentenced to two years in the infamous Reading Gaol.\u003c/p>\n\u003cp>The British prison, which was operational until 2013, has just reopened for an unusual art exhibition; \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">“Inside”\u003c/a> features installations and texts inspired by the prison and Wilde’s experiences there.\u003c/p>\n\u003cp>Cells where solitary prisoners counted down the days are now filled with art. In one, artist and film director Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. In another, a river flows through the torso of a woman in a diorama by American sculptor Robert Gober. In another, Wilde and his lover, Lord Alfred Douglas, known as Bosie, are reunited in a diptych by Marlene Dumas. The organization behind it all is called \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">Artangel\u003c/a> — it specializes in bringing cutting-edge art into unused and unusual spaces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"200\" height=\"133\" class=\"aligncenter size-full wp-image-12236594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cfigure id=\"attachment_12236992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, nearly 100 years after Wilde was imprisoned in Reading Gaol, Gawain Davis spent three months in the prison for cannabis possession. Leaning over a display case of mug shots of Wilde’s fellow prisoners, Davis observes: “They look like the same sort of people that I was back in here with, 100 years later!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Wilde, Davis spent 23 hours a day in his cell. The only sanitation was a bucket he had to empty — or “slop out” — himself: “You were unlocked, let down for breakfast, locked back up again to eat it, unlocked again to slop out, to empty the bucket, then locked up again,” Davis recalls.\u003c/p>\n\u003cp>A miserable existence for sure, but Davis says Wilde had it worse — in Wilde’s day, prisoners weren’t even allowed to talk.\u003c/p>\n\u003cp>When Wilde arrived, Reading Gaol was one great Victorian machine of Christian penance, forcing prisoners to meditate on their crimes in silence, while performing physical labor amid the reek of their own waste.\u003c/p>\n\u003cp>The privations broke Wilde — but they also inspired his last work, \u003ca href=\"https://www.poets.org/poetsorg/poem/ballad-reading-gaol\" target=\"_blank\" rel=\"noopener\">“The Ballad of Reading Gaol,”\u003c/a> which was written after his release. In those two years behind bars, letters were all he was permitted to write.\u003c/p>\n\u003cp>Several cells are filled with the sounds of “Letters of Separation,” named after this form of imprisonment. In one cell, artist Ai Wei Wei is heard reading aloud a letter to his son about his imprisonment in China. In another, playwright Gillian Slovo addresses her dead mother, Ruth First, who was imprisoned and then assassinated under South Africa’s Apartheid regime.\u003c/p>\n\u003cp>All the letters honor the one that inspired them: Wilde’s \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — “from the depths” — the 50,000-word letter he wrote to Bosie, his lover and betrayer.\u003c/p>\n\u003cp>Every Sunday, a different performer reads the entire 6-hour text aloud, in front of the original door to Wilde’s cell. Artangel co-director James Lingwood says it wasn’t hard to enlist an A-list cast of readers — including Ralph Fiennes, Ben Whishaw and Patti Smith; all they had to do was reach out to those who’ve cited Wilde as an influence.\u003c/p>\n\u003cfigure id=\"attachment_12236596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg\" alt=\"Wilde's cell door is exhibited in the prison chapel. Every Sunday, performers read <a href="https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde" target="_blank">De Profundis</a> — Wilde's 50,000-word letter he wrote while incarcerate\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilde’s cell door is exhibited in the prison chapel. Every Sunday, performers read \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — Wilde’s 50,000-word letter he wrote while incarcerate \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Almost without any exception they embraced the idea,” Lingwood says. “Because when else would you get the chance to kind of come to terms and pay homage to Oscar Wilde within the very place where he wrote this compelling, extended love letter?”\u003c/p>\n\u003cp>Lingwood has been struck by how much time visitors are spending at the exhibition. Jenny Welsh, a retired chaplain who’s worked at other prisons, traveled 40 miles to visit the jail. She found that the artwork that evoked the isolation of imprisonment was particularly powerful for her.\u003c/p>\n\u003cp>Her husband, Phillip Welsh, a retired clergyman, says the highlight for him was the renewed sense of connection with Wilde.\u003c/p>\n\u003cp>“It was standing in his cell and looking out at the same window and seeing the same patch of sky that he wrote about,” he says.\u003c/p>\n\u003cp>Wilde’s cell — number C33 — is the only one without an original art work. In one corner, visitors have left some flowers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in a sense, this entire exhibition is a floral offering to an artist seen as a martyr for loving, and living, in the wrong time, and the wrong place. \u003c/p>\n\u003cfigure id=\"attachment_12236592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg\" alt=\"Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition. \u003ccite>(Photo: Justin Tallis/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reading+Gaol%2C+Where+Oscar+Wilde+Was+Imprisoned%2C+Unlocks+Its+Gates+For+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-tribute-to-a-vibraphonist-unraveling-a-hard-problem-and-what-is-beauty",
"title": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty",
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"headTitle": "Cy and David’s Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty | KQED",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/289227316″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”165″ iframe=”true” /]\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqEseMoPZ-o\u003c/p>\n\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2K0ptoYpuc\u003c/p>\n\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty | KQED",
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"headline": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”165″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/289227316″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/289227316″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DqEseMoPZ-o'\n title='//www.youtube.com/embed/DqEseMoPZ-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O2K0ptoYpuc'\n title='//www.youtube.com/embed/O2K0ptoYpuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-bing-crosby-and-silicon-valley-revolutionized-radio-and-tv",
"title": "How Bing Crosby and Silicon Valley Revolutionized Radio and TV",
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"content": "\u003cp>\u003ci>This piece is from our new series \u003cb>Into The Mix,\u003c/b> which focuses on little known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>The origin story of Silicon Valley typically centers on Stanford and steady funding from the US military. The marriage of technology and entertainment, as the story goes, came way later, with companies like Apple and Facebook.\u003c/p>\n\u003cp>But no.\u003c/p>\n\u003cp>The first company to revolutionize entertainment from the Valley was Ampex, launched in 1944. The company manufactured the first reel-to-reel machine for commercial use in the United States (based on German technology), and later, the first video recording machine. All in collaboration/competition with Bing Crosby. Yes, \u003cem>that\u003c/em> Bing Crosby.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch3>Is that live radio at 2am?\u003c/h3>\n\u003cp>In the aftermath of WWII, Silicon Valley stocked up on all sorts of German scientists and technology. After all, the Germans were hardly in a position to defend patents in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So it was an American serviceman, Jack Mullin, who brought home to the San Francisco Bay Area a technology completely unfamiliar to Americans: the Magnetophon, a magnetic tape recorder developed by German companies BASF and AEG in the 1930s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OA1oDxRo_lI&w=560&h=315\u003c/p>\n\u003cp>The technology put wax cylinders to shame. Magnetic tape recordings were so realistic that radio broadcasts sounded as though they were live, no matter the time of day. Mullin first heard the Berlin Philharmonic playing Beethoven’s Ninth Symphony on Radio Berlin — at 2am.\u003c/p>\n\u003cp>His search for how such a broadcast was possible led to his life’s work, starting with a couple devices and 50 reels of tape shipped home to tinker with and sell. Soon after, he had a celebrity customer: Bing Crosby.\u003c/p>\n\u003cp>Crosby, then starring on ABC’s \u003cem>Philco Radio Time\u003c/em>, loved the ability to do multiple takes and edit performances until he had a perfect radio show. (That, and he could play on the golf course while his show aired, pre-taped.) The networks fought him at first, but Crosby and the technology won out, and in 1947, \u003ca href=\"https://www.youtube.com/watch?v=ZziomfVrDuI\" target=\"_blank\" rel=\"noopener\">\u003cem>Philco Radio Time\u003c/em>\u003c/a> became the first tape-delayed radio broadcast in the United States.\u003c/p>\n\u003ch3>Crosby wasn’t the only one interested in the technology\u003c/h3>\n\u003cp>Henry Lowood, Stanford’s Curator for History of Science & Technology Collections, says Crosby wasn’t just a customer; he was an early version of a venture capitalist.\u003c/p>\n\u003cp>“He became very interested in promoting the technology and developing it,” Lowood said.\u003c/p>\n\u003cp>A scrappy start-up in San Carlos named the Ampex Electric and Manufacturing Company also adopted Mullin’s find, and Crosby paid Ampex $50,000 in the hope of seeing more of these marvelous machines manufactured on this side of the Atlantic.\u003c/p>\n\u003cfigure id=\"attachment_12200550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg\" alt=\"An early advertisement for Ampex.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut.jpg 1636w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early advertisement for Ampex. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Ampex would later move to Redwood City, and those who drive along Hwy. 101 can still see the company sign — even though Ampex is no longer, and its archives are \u003ca href=\"http://www.aes.org/aeshc/docs/press.releases/stanford.ampex.museum.mp3.html\" target=\"_blank\" rel=\"noopener noreferrer\">now managed by Stanford\u003c/a>.)\u003c/p>\n\u003cp>Today, if you visit the \u003ca href=\"http://library.stanford.edu/libraries/green/about\" target=\"_blank\" rel=\"noopener noreferrer\">Green Library\u003c/a> on the Stanford campus, you can see the dishwasher-sized device that was the first to go into regular broadcast service in the United States in 1948.\u003c/p>\n\u003cp>Listen to Lowood speaking at length about the \u003ca href=\"https://soundcloud.com/kqed-arts/ampex-full\" target=\"_blank\" rel=\"noopener\">legacy of Ampex\u003c/a>.\u003c/p>\n\u003cp>A former Ampex engineer restored it for display, which explains why, if you were to take it out of its glass case and plug it in, the machine would still play.\u003c/p>\n\u003cp>“I was just floored by the sound of the room being filled with music that was produced by it,” Lowood says. “[It] kind of revises your opinion about this kind of old technology and how it relates to our contemporary audio technologies, with compression and all of the other things that we accept when we listen to music.”\u003c/p>\n\u003cp>While broadcasting networks initially resisted pre-recorded radio shows, other performers, like Bob Hope, were quick to see the obvious benefits. Crosby also gave an Ampex 200A to Les Paul, who went on to develop \u003ca href=\"https://www.youtube.com/watch?v=D4Q1T_2C72g&feature=youtu.be&t=11m18s\" target=\"_blank\" rel=\"noopener noreferrer\">multi-track recording\u003c/a>.\u003c/p>\n\u003ch3>And then there was video\u003c/h3>\n\u003cfigure id=\"attachment_12199381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12199381 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg\" alt=\"The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-960x543.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1950s, Ampex competed against Crosby in the race to produce the first commercially viable video recorder, and Ampex won.\u003c/p>\n\u003cp>Fred Pfost, an Ampex engineer who worked on the project, was interviewed by the Audio Engineering Society in 2000, in which he described demonstrating the technology to CBS executives for the first time.\u003c/p>\n\u003cp>Unbeknownst to them, Pfost recorded a speech delivered by a vice president at the network. Then Pfost rewound the tape and played it back.\u003c/p>\n\u003cp>Choking up at the memory, he recalls, “There was total silence for probably 10 seconds, at which time they realized what was happening… There was clapping and shouting and foot stamping.”\u003c/p>\n\u003cp>That video recording team included Ray Dolby, one of several Ampex employees who went on to start landmark firms; others left to found \u003ca href=\"http://ethw.org/First-Hand:The_Development_of_Pong:_Early_Days_of_Atari_and_the_Video_Game_Industry\" target=\"_blank\" rel=\"noopener noreferrer\">Atari\u003c/a>, \u003ca href=\"http://www.businessinsider.com/rags-to-riches-story-of-larry-ellison-2015-5\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle\u003c/a> and \u003ca href=\"http://www.liquisearch.com/laurence_spitters/memorex\" target=\"_blank\" rel=\"noopener noreferrer\">Memorex\u003c/a>.\u003c/p>\n\u003cp>“So in a way,” Lowood says, “Ampex was not only the first entertainment technology company in Silicon Valley — it was also close to being the first to generate this culture of employees moving on to found other companies.”\u003c/p>\n\u003cp>But the cycle of technology is unstoppable, and after half a century of dominance in American TV, music, and radio studios, Ampex did a slow fade into history.\u003c/p>\n\u003cp>As KQED’s Peter Jon Shuler put it in a story 14 years ago about the \u003ca href=\"http://www.aes.org/aeshc/mp3/stanford.ampex/1-21-02-ampexcollection.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">company’s legacy\u003c/a>, “The digital revolution began to overshadow the technological innovations the firm helped establish.”\u003c/p>\n\u003ch3>Some of us still old enough to remember\u003c/h3>\n\u003cfigure id=\"attachment_12199767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg\" alt=\"Keven Guillory, editing a spot at KRE AM & FM in Berkeley, circa 1973.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut.jpg 959w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keven Guillory, editing a spot at \u003ca href=\"http://bayarearadio.org/schneider/kre.shtml\" target=\"_blank\" rel=\"noopener noreferrer\">KRE AM & FM\u003c/a> in Berkeley, circa 1973. \u003ccite>(Photo: Courtesy of Keven Guillory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ampex era may be over, but nostalgia doesn’t die easy.\u003c/p>\n\u003cp>Until digital editing software took over, radio reporters like yours truly collected razor blade scars all over our fingers, splicing bits of tape to put together stories, not unlike what Bing Crosby’s engineers were doing all the way back in 1948.\u003c/p>\n\u003cp>I have fond memories of the rock and roll of the two reels as I’d search for that pause between words where a splice might happen. I can still mimic the funny whoosh of that first word when I hit the play button, and the garbled chipmunk chatter I heard when pressing rewind.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is digital better? In some ways, yes; in other ways, no. But maybe that’s what the guys who used wax cylinders used to say when they got together to complain about magnetic tape…\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This piece is from our new series \u003cb>Into The Mix,\u003c/b> which focuses on little known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>The origin story of Silicon Valley typically centers on Stanford and steady funding from the US military. The marriage of technology and entertainment, as the story goes, came way later, with companies like Apple and Facebook.\u003c/p>\n\u003cp>But no.\u003c/p>\n\u003cp>The first company to revolutionize entertainment from the Valley was Ampex, launched in 1944. The company manufactured the first reel-to-reel machine for commercial use in the United States (based on German technology), and later, the first video recording machine. All in collaboration/competition with Bing Crosby. Yes, \u003cem>that\u003c/em> Bing Crosby.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch3>Is that live radio at 2am?\u003c/h3>\n\u003cp>In the aftermath of WWII, Silicon Valley stocked up on all sorts of German scientists and technology. After all, the Germans were hardly in a position to defend patents in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was an American serviceman, Jack Mullin, who brought home to the San Francisco Bay Area a technology completely unfamiliar to Americans: the Magnetophon, a magnetic tape recorder developed by German companies BASF and AEG in the 1930s.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OA1oDxRo_lI'\n title='//www.youtube.com/embed/OA1oDxRo_lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The technology put wax cylinders to shame. Magnetic tape recordings were so realistic that radio broadcasts sounded as though they were live, no matter the time of day. Mullin first heard the Berlin Philharmonic playing Beethoven’s Ninth Symphony on Radio Berlin — at 2am.\u003c/p>\n\u003cp>His search for how such a broadcast was possible led to his life’s work, starting with a couple devices and 50 reels of tape shipped home to tinker with and sell. Soon after, he had a celebrity customer: Bing Crosby.\u003c/p>\n\u003cp>Crosby, then starring on ABC’s \u003cem>Philco Radio Time\u003c/em>, loved the ability to do multiple takes and edit performances until he had a perfect radio show. (That, and he could play on the golf course while his show aired, pre-taped.) The networks fought him at first, but Crosby and the technology won out, and in 1947, \u003ca href=\"https://www.youtube.com/watch?v=ZziomfVrDuI\" target=\"_blank\" rel=\"noopener\">\u003cem>Philco Radio Time\u003c/em>\u003c/a> became the first tape-delayed radio broadcast in the United States.\u003c/p>\n\u003ch3>Crosby wasn’t the only one interested in the technology\u003c/h3>\n\u003cp>Henry Lowood, Stanford’s Curator for History of Science & Technology Collections, says Crosby wasn’t just a customer; he was an early version of a venture capitalist.\u003c/p>\n\u003cp>“He became very interested in promoting the technology and developing it,” Lowood said.\u003c/p>\n\u003cp>A scrappy start-up in San Carlos named the Ampex Electric and Manufacturing Company also adopted Mullin’s find, and Crosby paid Ampex $50,000 in the hope of seeing more of these marvelous machines manufactured on this side of the Atlantic.\u003c/p>\n\u003cfigure id=\"attachment_12200550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg\" alt=\"An early advertisement for Ampex.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut.jpg 1636w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early advertisement for Ampex. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Ampex would later move to Redwood City, and those who drive along Hwy. 101 can still see the company sign — even though Ampex is no longer, and its archives are \u003ca href=\"http://www.aes.org/aeshc/docs/press.releases/stanford.ampex.museum.mp3.html\" target=\"_blank\" rel=\"noopener noreferrer\">now managed by Stanford\u003c/a>.)\u003c/p>\n\u003cp>Today, if you visit the \u003ca href=\"http://library.stanford.edu/libraries/green/about\" target=\"_blank\" rel=\"noopener noreferrer\">Green Library\u003c/a> on the Stanford campus, you can see the dishwasher-sized device that was the first to go into regular broadcast service in the United States in 1948.\u003c/p>\n\u003cp>Listen to Lowood speaking at length about the \u003ca href=\"https://soundcloud.com/kqed-arts/ampex-full\" target=\"_blank\" rel=\"noopener\">legacy of Ampex\u003c/a>.\u003c/p>\n\u003cp>A former Ampex engineer restored it for display, which explains why, if you were to take it out of its glass case and plug it in, the machine would still play.\u003c/p>\n\u003cp>“I was just floored by the sound of the room being filled with music that was produced by it,” Lowood says. “[It] kind of revises your opinion about this kind of old technology and how it relates to our contemporary audio technologies, with compression and all of the other things that we accept when we listen to music.”\u003c/p>\n\u003cp>While broadcasting networks initially resisted pre-recorded radio shows, other performers, like Bob Hope, were quick to see the obvious benefits. Crosby also gave an Ampex 200A to Les Paul, who went on to develop \u003ca href=\"https://www.youtube.com/watch?v=D4Q1T_2C72g&feature=youtu.be&t=11m18s\" target=\"_blank\" rel=\"noopener noreferrer\">multi-track recording\u003c/a>.\u003c/p>\n\u003ch3>And then there was video\u003c/h3>\n\u003cfigure id=\"attachment_12199381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12199381 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg\" alt=\"The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-960x543.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1950s, Ampex competed against Crosby in the race to produce the first commercially viable video recorder, and Ampex won.\u003c/p>\n\u003cp>Fred Pfost, an Ampex engineer who worked on the project, was interviewed by the Audio Engineering Society in 2000, in which he described demonstrating the technology to CBS executives for the first time.\u003c/p>\n\u003cp>Unbeknownst to them, Pfost recorded a speech delivered by a vice president at the network. Then Pfost rewound the tape and played it back.\u003c/p>\n\u003cp>Choking up at the memory, he recalls, “There was total silence for probably 10 seconds, at which time they realized what was happening… There was clapping and shouting and foot stamping.”\u003c/p>\n\u003cp>That video recording team included Ray Dolby, one of several Ampex employees who went on to start landmark firms; others left to found \u003ca href=\"http://ethw.org/First-Hand:The_Development_of_Pong:_Early_Days_of_Atari_and_the_Video_Game_Industry\" target=\"_blank\" rel=\"noopener noreferrer\">Atari\u003c/a>, \u003ca href=\"http://www.businessinsider.com/rags-to-riches-story-of-larry-ellison-2015-5\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle\u003c/a> and \u003ca href=\"http://www.liquisearch.com/laurence_spitters/memorex\" target=\"_blank\" rel=\"noopener noreferrer\">Memorex\u003c/a>.\u003c/p>\n\u003cp>“So in a way,” Lowood says, “Ampex was not only the first entertainment technology company in Silicon Valley — it was also close to being the first to generate this culture of employees moving on to found other companies.”\u003c/p>\n\u003cp>But the cycle of technology is unstoppable, and after half a century of dominance in American TV, music, and radio studios, Ampex did a slow fade into history.\u003c/p>\n\u003cp>As KQED’s Peter Jon Shuler put it in a story 14 years ago about the \u003ca href=\"http://www.aes.org/aeshc/mp3/stanford.ampex/1-21-02-ampexcollection.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">company’s legacy\u003c/a>, “The digital revolution began to overshadow the technological innovations the firm helped establish.”\u003c/p>\n\u003ch3>Some of us still old enough to remember\u003c/h3>\n\u003cfigure id=\"attachment_12199767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg\" alt=\"Keven Guillory, editing a spot at KRE AM & FM in Berkeley, circa 1973.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut.jpg 959w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keven Guillory, editing a spot at \u003ca href=\"http://bayarearadio.org/schneider/kre.shtml\" target=\"_blank\" rel=\"noopener noreferrer\">KRE AM & FM\u003c/a> in Berkeley, circa 1973. \u003ccite>(Photo: Courtesy of Keven Guillory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ampex era may be over, but nostalgia doesn’t die easy.\u003c/p>\n\u003cp>Until digital editing software took over, radio reporters like yours truly collected razor blade scars all over our fingers, splicing bits of tape to put together stories, not unlike what Bing Crosby’s engineers were doing all the way back in 1948.\u003c/p>\n\u003cp>I have fond memories of the rock and roll of the two reels as I’d search for that pause between words where a splice might happen. I can still mimic the funny whoosh of that first word when I hit the play button, and the garbled chipmunk chatter I heard when pressing rewind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is digital better? In some ways, yes; in other ways, no. But maybe that’s what the guys who used wax cylinders used to say when they got together to complain about magnetic tape…\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A diplomatic push for the return of Native American ceremonial objects from auction houses in Paris has been hampered by loopholes in U.S. laws that authorities and lawmakers say prohibit the trafficking of the federally protected items domestically but don’t explicitly ban dealers from exporting them to foreign markets.\u003c/p>\n\u003cp>The comments from U.S. Sens. Tom Udall and Martin Heinrich, both New Mexico Democrats, came Tuesday before a field hearing in Albuquerque, where tribal leaders and representatives of several federal agencies — including the U.S. State, Interior and Justice departments — testified that a growing international market for ceremonial objects that include masks and shields has made it difficult for tribes to track and repatriate stolen items.\u003c/p>\n\u003cp>“They are not pieces of art. They are spiritual objects deeply important for tribal identity,” Udall said. “Theft not only robs the tribes of a sacred object, it robs them of a piece of their spiritual identity.”\u003c/p>\n\u003cp>French officials have told the Obama administration that they often are unable to intervene in numerous auction house sales of the items at the request of the United States because American laws fall short of making it a crime to send the objects overseas, the senators said.\u003c/p>\n\u003cp>Both are co-sponsors of legislation that would prohibit dealers from exporting the federally protected tribal items and double the prison time to 10 years for violating a statute that criminalizes stealing or unlawfully removing tribal objects from reservations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A U.S. State Department official said French and American authorities will meet at the end of the month to discuss the issue.\u003c/p>\n\u003cp>“We have a very close partnership with the French,” Mark Taplin, a principal deputy assistant secretary within the U.S. Department of State who testified at the field hearing told The Associated Press. “This is one of the relatively few areas where we need to work on finding an agreement.”\u003c/p>\n\u003cp>The Paris auctions have presented a diplomatic dilemma for years between the United States and France. The upcoming bilateral talks between the two countries, and the proposed legislation come as Acoma Pueblo in western New Mexico awaits word on whether a ceremonial shield that was set for auction in May will be returned.\u003c/p>\n\u003cp>EVE auction house in Paris halted the planned sale of the shield after facing immense pressure from top U.S. officials — including Interior Secretary Sally Jewell — and pueblo leaders, who produced an affidavit alleging the shield had been taken during a break-in from an elder’s Acoma Pueblo home.\u003c/p>\n\u003cp>The centuries-old village sits atop a mesa west of Albuquerque.\u003c/p>\n\u003cp>Heinrich’s bill has been met with criticism from collectors who question how U.S. authorities will determine which tribal objects represent sacred ceremonial items. Gregory Schaaf, a historian and retired Native American Studies professor, testified that more criminal penalties for the trafficking of Native American objects may lead some collectors to dispose of the items rather than return them to tribes, even though the proposed legislation allows for an amnesty period for collectors to return federally protect items.\u003c/p>\n\u003cp>“In order to make these sacred objects come home, you have to think from the perspective of other people from other cultures,” he told tribal leaders during the hearing. “You have to think from the perspective of the collector themselves.”\u003c/p>\n\u003cp>He presented leaders from Isleta and Acoma pueblos and the Navajo Nation with sealed boxes that he said contained objects considered sacred by each of the tribes.\u003c/p>\n\u003cp>Tribal officials expressed offense at the move, saying the hearing was not the time or place for returning sacred items. They did not confirm whether the boxes, in fact, contained sacred items before a Bureau of Indian Affairs agent collected them, saying they were “evidence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We practice our culture and use these items,” said Gov. Kurt Riley of Acoma Pueblo. “For someone else to tell us what is sacred and what is not, is inappropriate.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A diplomatic push for the return of Native American ceremonial objects from auction houses in Paris has been hampered by loopholes in U.S. laws that authorities and lawmakers say prohibit the trafficking of the federally protected items domestically but don’t explicitly ban dealers from exporting them to foreign markets.\u003c/p>\n\u003cp>The comments from U.S. Sens. Tom Udall and Martin Heinrich, both New Mexico Democrats, came Tuesday before a field hearing in Albuquerque, where tribal leaders and representatives of several federal agencies — including the U.S. State, Interior and Justice departments — testified that a growing international market for ceremonial objects that include masks and shields has made it difficult for tribes to track and repatriate stolen items.\u003c/p>\n\u003cp>“They are not pieces of art. They are spiritual objects deeply important for tribal identity,” Udall said. “Theft not only robs the tribes of a sacred object, it robs them of a piece of their spiritual identity.”\u003c/p>\n\u003cp>French officials have told the Obama administration that they often are unable to intervene in numerous auction house sales of the items at the request of the United States because American laws fall short of making it a crime to send the objects overseas, the senators said.\u003c/p>\n\u003cp>Both are co-sponsors of legislation that would prohibit dealers from exporting the federally protected tribal items and double the prison time to 10 years for violating a statute that criminalizes stealing or unlawfully removing tribal objects from reservations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A U.S. State Department official said French and American authorities will meet at the end of the month to discuss the issue.\u003c/p>\n\u003cp>“We have a very close partnership with the French,” Mark Taplin, a principal deputy assistant secretary within the U.S. Department of State who testified at the field hearing told The Associated Press. “This is one of the relatively few areas where we need to work on finding an agreement.”\u003c/p>\n\u003cp>The Paris auctions have presented a diplomatic dilemma for years between the United States and France. The upcoming bilateral talks between the two countries, and the proposed legislation come as Acoma Pueblo in western New Mexico awaits word on whether a ceremonial shield that was set for auction in May will be returned.\u003c/p>\n\u003cp>EVE auction house in Paris halted the planned sale of the shield after facing immense pressure from top U.S. officials — including Interior Secretary Sally Jewell — and pueblo leaders, who produced an affidavit alleging the shield had been taken during a break-in from an elder’s Acoma Pueblo home.\u003c/p>\n\u003cp>The centuries-old village sits atop a mesa west of Albuquerque.\u003c/p>\n\u003cp>Heinrich’s bill has been met with criticism from collectors who question how U.S. authorities will determine which tribal objects represent sacred ceremonial items. Gregory Schaaf, a historian and retired Native American Studies professor, testified that more criminal penalties for the trafficking of Native American objects may lead some collectors to dispose of the items rather than return them to tribes, even though the proposed legislation allows for an amnesty period for collectors to return federally protect items.\u003c/p>\n\u003cp>“In order to make these sacred objects come home, you have to think from the perspective of other people from other cultures,” he told tribal leaders during the hearing. “You have to think from the perspective of the collector themselves.”\u003c/p>\n\u003cp>He presented leaders from Isleta and Acoma pueblos and the Navajo Nation with sealed boxes that he said contained objects considered sacred by each of the tribes.\u003c/p>\n\u003cp>Tribal officials expressed offense at the move, saying the hearing was not the time or place for returning sacred items. They did not confirm whether the boxes, in fact, contained sacred items before a Bureau of Indian Affairs agent collected them, saying they were “evidence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We practice our culture and use these items,” said Gov. Kurt Riley of Acoma Pueblo. “For someone else to tell us what is sacred and what is not, is inappropriate.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Harry Shearer announced Tuesday that he has sued a French film studio over tens of millions in dollars in profits he claims he and his co-creators are owed for creating the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Shearer’s lawsuit filed in a federal court in Los Angeles on Monday claims the French company Vivendi S.A. and its subsidiary StudioCanal withheld profits from the film, its music and its merchandise.\u003c/p>\n\u003cp>Shearer released a two-minute video on Twitter announcing the lawsuit, urging people to share it with the hashtag #fairnessrocks.\u003c/p>\n\u003cp>https://twitter.com/theharryshearer/status/788457673108979712\u003c/p>\n\u003cp>Shearer co-created the satire about a British rock band on the decline, which has been featured on numerous top movie lists of all time since its 1984 release. \u003cem>This Is Spinal Tap\u003c/em> was made for $2.25 million, the lawsuit said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\u003cp>Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.\u003c/p>\n\u003cp>The company said their share of profits on music on songs such as “Sex Farm” and “Stonehenge” was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film’s profits since 2013.\u003c/p>\n\u003cp>The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer’s company, Century of Progress Productions.\u003c/p>\n\u003cp>Vivendi in an emailed statement declined comment on the lawsuit.\u003c/p>\n\u003cp>A jury would determine the amount of any damages awarded to Shearer’s company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character’s name, Derek Smalls.\u003c/p>\n\u003cp>If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The comedian also voices several characters on the long-running Fox animated series \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Harry Shearer announced Tuesday that he has sued a French film studio over tens of millions in dollars in profits he claims he and his co-creators are owed for creating the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Shearer’s lawsuit filed in a federal court in Los Angeles on Monday claims the French company Vivendi S.A. and its subsidiary StudioCanal withheld profits from the film, its music and its merchandise.\u003c/p>\n\u003cp>Shearer released a two-minute video on Twitter announcing the lawsuit, urging people to share it with the hashtag #fairnessrocks.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Shearer co-created the satire about a British rock band on the decline, which has been featured on numerous top movie lists of all time since its 1984 release. \u003cem>This Is Spinal Tap\u003c/em> was made for $2.25 million, the lawsuit said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\u003cp>Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.\u003c/p>\n\u003cp>The company said their share of profits on music on songs such as “Sex Farm” and “Stonehenge” was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film’s profits since 2013.\u003c/p>\n\u003cp>The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer’s company, Century of Progress Productions.\u003c/p>\n\u003cp>Vivendi in an emailed statement declined comment on the lawsuit.\u003c/p>\n\u003cp>A jury would determine the amount of any damages awarded to Shearer’s company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character’s name, Derek Smalls.\u003c/p>\n\u003cp>If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The comedian also voices several characters on the long-running Fox animated series \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \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=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \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=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Tower\u003c/em> is an animated documentary that tells the story of a massacre that happened 50 years ago and was a historic first: A man with no record of violence shot at people at random for no logical reason.\u003c/p>\n\u003cp>It was Aug. 1, 1966, in the middle of a 100-degree day at the University of Texas at Austin. The shots came from the clock tower at the center of the campus. A woman eight months pregnant was the first to fall, soon to be followed by her boyfriend and a boy delivering newspapers on his bicycle. It’s not the usual subject for a cartoon.\u003c/p>\n\u003cp>The animation is rotoscoped, meaning laid over real actors who went through the paces. Those actors also narrate, their words taken directly from transcripts or interviews with the real people conducted by the director, Keith Maitland.\u003c/p>\n\u003cp>Sometimes Maitland cuts to actual footage from that day. Sometimes he puts animated figures in the foreground against grainy, black-and-white news coverage.\u003c/p>\n\u003cp>The effect is extraordinary. Rather than distancing us, the animation brings us closer, as news footage or talking heads alone never could. It puts what’s happening in the present tense. The rifle cracks seem to slice through you — and Maitland cuts to negative images, strobe-like, as the victims fall to the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sheer beauty of the animation also makes \u003cem>Tower\u003c/em> surreal and drenched in emotion. The soundscape is layered, a collage of traffic noise, real radio and TV broadcasts, and the sound of Top 40 hits like “(What a Day For a) Daydream” over tinny AM radios.\u003c/p>\n\u003cp>At no point do we see the shooter or hear his name — well, it’s uttered once, at the end, by Walter Cronkite in a broadcast. What’s hard for us to imagine is that the people on the University of Texas campus that day had no context for this event, nothing to compare it to.\u003c/p>\n\u003cp>The event is decentralized, seen from multiple incomplete perspectives: people who were shot; policemen and civilians who risked their lives to climb the tower; and even a woman who said she knew while she was watching there was a “moment that separate[d] the brave people from the scared people. I realized,” she says, “that I was a coward.”\u003c/p>\n\u003cp>The most wrenching figure is the pregnant woman, Claire, who lies on the plaza, the concrete, she tells us, in her narration, burning the backs of her thighs, her blood leaking out. People watch helplessly, afraid at first to enter the plaza to help.\u003c/p>\n\u003cp>The word you sometimes hear about films like \u003cem>Tower\u003c/em> from documentary purists is “over-aestheticized,” which means they think it’s false to the reality, manipulative. Director Keith Maitland sometimes does go too far: I could have done without the psychedelic love montage when Claire speaks of her dead boyfriend, even though it’s true to her feelings. But I love when nonfiction filmmakers stretch the form, giving us animated docs as powerful as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=98689131\">Waltz with Bashir\u003c/a>, \u003cem>Persepolis\u003c/em> and, now, \u003cem>Tower\u003c/em>.\u003c/p>\n\u003cp>We’re on such intimate terms with Maitland’s subjects that when the faces of the real, aged people burn in over their younger animated counterparts, the effect is unspeakably moving. This was well before we understood such things as \u003ca href=\"http://www.npr.org/tags/143046636/post-traumatic-stress-disorder\">post-traumatic stress disorder\u003c/a>, and many survivors have never wanted to talk about what happened. Some are baring their feelings only now, for this film.\u003c/p>\n\u003cp>I was on the documentary jury that gave \u003cem>Tower\u003c/em> its top prize at this year’s South by Southwest Film Festival in Austin. When it premiered, there was a section in the film about other gun massacres and a pointed digression about the need for gun control. That’s largely gone now, trimmed down to brief images of Columbine and Aurora and other sites of carnage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, some people might even see \u003cem>Tower\u003c/em> in its present form as an example of what happens when not \u003cem>enough\u003c/em> people are armed. Maybe we’ll know who’s right soon enough. On the 50th anniversary of the Austin shooting — Aug. 1, 2016 — it became legal for students at the University of Texas to carry guns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Documentary+Offers+A+Wrenching+Look+At+America%27s+First+Modern+Gun+Massacre+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sheer beauty of the animation also makes \u003cem>Tower\u003c/em> surreal and drenched in emotion. The soundscape is layered, a collage of traffic noise, real radio and TV broadcasts, and the sound of Top 40 hits like “(What a Day For a) Daydream” over tinny AM radios.\u003c/p>\n\u003cp>At no point do we see the shooter or hear his name — well, it’s uttered once, at the end, by Walter Cronkite in a broadcast. What’s hard for us to imagine is that the people on the University of Texas campus that day had no context for this event, nothing to compare it to.\u003c/p>\n\u003cp>The event is decentralized, seen from multiple incomplete perspectives: people who were shot; policemen and civilians who risked their lives to climb the tower; and even a woman who said she knew while she was watching there was a “moment that separate[d] the brave people from the scared people. I realized,” she says, “that I was a coward.”\u003c/p>\n\u003cp>The most wrenching figure is the pregnant woman, Claire, who lies on the plaza, the concrete, she tells us, in her narration, burning the backs of her thighs, her blood leaking out. People watch helplessly, afraid at first to enter the plaza to help.\u003c/p>\n\u003cp>The word you sometimes hear about films like \u003cem>Tower\u003c/em> from documentary purists is “over-aestheticized,” which means they think it’s false to the reality, manipulative. Director Keith Maitland sometimes does go too far: I could have done without the psychedelic love montage when Claire speaks of her dead boyfriend, even though it’s true to her feelings. But I love when nonfiction filmmakers stretch the form, giving us animated docs as powerful as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=98689131\">Waltz with Bashir\u003c/a>, \u003cem>Persepolis\u003c/em> and, now, \u003cem>Tower\u003c/em>.\u003c/p>\n\u003cp>We’re on such intimate terms with Maitland’s subjects that when the faces of the real, aged people burn in over their younger animated counterparts, the effect is unspeakably moving. This was well before we understood such things as \u003ca href=\"http://www.npr.org/tags/143046636/post-traumatic-stress-disorder\">post-traumatic stress disorder\u003c/a>, and many survivors have never wanted to talk about what happened. Some are baring their feelings only now, for this film.\u003c/p>\n\u003cp>I was on the documentary jury that gave \u003cem>Tower\u003c/em> its top prize at this year’s South by Southwest Film Festival in Austin. When it premiered, there was a section in the film about other gun massacres and a pointed digression about the need for gun control. That’s largely gone now, trimmed down to brief images of Columbine and Aurora and other sites of carnage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, some people might even see \u003cem>Tower\u003c/em> in its present form as an example of what happens when not \u003cem>enough\u003c/em> people are armed. Maybe we’ll know who’s right soon enough. On the 50th anniversary of the Austin shooting — Aug. 1, 2016 — it became legal for students at the University of Texas to carry guns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Documentary+Offers+A+Wrenching+Look+At+America%27s+First+Modern+Gun+Massacre+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Grammy-winning R&B singer Anthony Hamilton has sung the national anthem in the past. Don’t ask him to sing it in the near future.\u003c/p>\n\u003cp>Hamilton’s frustration with “The Star-Spangled Banner” is shared by some other black Americans, who feel like the tune sung before major U.S. events is not the best representation of all Americans.\u003c/p>\n\u003cp>That sentiment became part of the national conversation after the NFL’s Colin Kaepernick announced he would not stand for the anthem in protest of racial discrimination against blacks in the United States, particularly after a spate of police shootings of African Americans.\u003c/p>\n\u003cp>Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit, from the NFL to high school to other sports.\u003c/p>\n\u003cp>There are still plenty of singers singing the national anthem at major events. But Hamilton is among those who are reconsidering whether they’d do so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m gonna take a little time away from the anthem until it starts feeling like it’s for me,” said Hamilton, who is black. “We need a new song, one that really speaks for all of us, or bring some new life to the one that we have.”\u003c/p>\n\u003cp>Several musicians declined to be interviewed for this story. The anthem, one of the most popular songs in the country, has become a badge of honor for musicians when invited to sing it, and a well-received live performance of the song normally boosts an act’s career. Whitney Houston’s performance of the anthem at the Super Bowl is considered one of her greatest, and one of the best renditions of it.\u003c/p>\n\u003cp>Alicia Keys, who has performed the anthem at the Super Bowl and other events throughout her 15-year career, said she gets where the San Francisco 49er quarterback is coming from.\u003c/p>\n\u003cp>“I understand. I understand,” she said seriously in an interview.\u003c/p>\n\u003cp>Keys, who like Kaepernick is biracial, said that she learned new information about the anthem after the athlete’s protest sparked countless articles. A third verse that is rarely sung includes the lines, “No refuge could save the hireling and slave/From the terror of flight or the gloom of the grave.”\u003c/p>\n\u003cp>Francis Scott Key, the song’s author, was a supporter of slavery.\u003c/p>\n\u003cp>“To actually read the facts, you know, I can understand it. It’s time for a lot of things to change. We know what this country was built off of and based off of, and it’s time for that to evolve. It’s time for the story to evolve,” she said.\u003c/p>\n\u003cp>“There’s some great things that have carried on for generations and generations and there’s some things that have to change, like that was an old way of thinking and now if we’re going to move toward really looking at each other in the same eyes and in the spirit of oneness, then we have to make changes from past mistakes.”\u003c/p>\n\u003cp>That third verse is also one reason why John Legend tweeted shortly after Kaepernick’s protest that he wasn’t a fan of the national anthem. While Legend has sung the anthem previously, he called the anthem “weak,” opting for “America the Beautiful” instead.\u003c/p>\n\u003cp>The NFL said teams arrange for their own anthems, and while some singers are second-guessing performing the song after Kaepernick’s protest, the organization said “no teams have identified this as an issue.” But on Monday at the Sacramento Kings preseason game, singer Leah Tysse, who is white, kneeled while performing the national anthem.\u003c/p>\n\u003cp>“I have sung the anthem before but this time taking a knee felt like the most patriotic thing I could do. I cannot idly stand by as black people are unlawfully profiled, harassed and killed by our law enforcement over and over and without a drop of accountability,” Tysse wrote on her Facebook page. “The sad reality is, as a white American I am bestowed a certain privilege in this nation that is not enjoyed by all people. Black families are having much different conversations with their children about how to interact with the police than white families. Let’s be honest. Until we can recognize that white privilege exists we cannot have a dialogue about race.”\u003c/p>\n\u003cp>The Kings Organization said in a statement they “respect the personal decision of Leah Tysse to exercise her freedom of speech.”\u003c/p>\n\u003cp>A Quinnipiac University poll released this week shows that most white Americans disapprove of protests by athletes during the national anthem while black Americans approve of the protests by an even larger margin.\u003c/p>\n\u003cp>Pop singer JoJo, who burst on the music scene at 13, said she’s still proud to sing the anthem because of the veterans in her family.\u003c/p>\n\u003cp>“When I sing the national anthem, I’m thinking of the veterans in my family, and I completely respect Colin’s stance to bring awareness to black people who are still facing injustice, and I really do respect it. But for me, I’m just, I enjoy singing the song,” said 25-year-old JoJo, who is white.\u003c/p>\n\u003cp>“Well this is what my mom said to me: ‘We’re all just trying to somehow make things right, so if we can come together as a country over that song, great. But at the end of the day, it’s easier said than done,'” she added.\u003c/p>\n\u003cp>Hamilton said he currently feels mixed emotions about being black in America in these racially charged times, and even sometimes feels betrayed.\u003c/p>\n\u003cp>“It feels like it’s a lie by the way they treat us,” Hamilton, 45, added of the anthem and how blacks are regarded in America. “Seems like the Constitution ain’t really constituting us.”\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>Grammy-winning R&B singer Anthony Hamilton has sung the national anthem in the past. Don’t ask him to sing it in the near future.\u003c/p>\n\u003cp>Hamilton’s frustration with “The Star-Spangled Banner” is shared by some other black Americans, who feel like the tune sung before major U.S. events is not the best representation of all Americans.\u003c/p>\n\u003cp>That sentiment became part of the national conversation after the NFL’s Colin Kaepernick announced he would not stand for the anthem in protest of racial discrimination against blacks in the United States, particularly after a spate of police shootings of African Americans.\u003c/p>\n\u003cp>Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit, from the NFL to high school to other sports.\u003c/p>\n\u003cp>There are still plenty of singers singing the national anthem at major events. But Hamilton is among those who are reconsidering whether they’d do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m gonna take a little time away from the anthem until it starts feeling like it’s for me,” said Hamilton, who is black. “We need a new song, one that really speaks for all of us, or bring some new life to the one that we have.”\u003c/p>\n\u003cp>Several musicians declined to be interviewed for this story. The anthem, one of the most popular songs in the country, has become a badge of honor for musicians when invited to sing it, and a well-received live performance of the song normally boosts an act’s career. Whitney Houston’s performance of the anthem at the Super Bowl is considered one of her greatest, and one of the best renditions of it.\u003c/p>\n\u003cp>Alicia Keys, who has performed the anthem at the Super Bowl and other events throughout her 15-year career, said she gets where the San Francisco 49er quarterback is coming from.\u003c/p>\n\u003cp>“I understand. I understand,” she said seriously in an interview.\u003c/p>\n\u003cp>Keys, who like Kaepernick is biracial, said that she learned new information about the anthem after the athlete’s protest sparked countless articles. A third verse that is rarely sung includes the lines, “No refuge could save the hireling and slave/From the terror of flight or the gloom of the grave.”\u003c/p>\n\u003cp>Francis Scott Key, the song’s author, was a supporter of slavery.\u003c/p>\n\u003cp>“To actually read the facts, you know, I can understand it. It’s time for a lot of things to change. We know what this country was built off of and based off of, and it’s time for that to evolve. It’s time for the story to evolve,” she said.\u003c/p>\n\u003cp>“There’s some great things that have carried on for generations and generations and there’s some things that have to change, like that was an old way of thinking and now if we’re going to move toward really looking at each other in the same eyes and in the spirit of oneness, then we have to make changes from past mistakes.”\u003c/p>\n\u003cp>That third verse is also one reason why John Legend tweeted shortly after Kaepernick’s protest that he wasn’t a fan of the national anthem. While Legend has sung the anthem previously, he called the anthem “weak,” opting for “America the Beautiful” instead.\u003c/p>\n\u003cp>The NFL said teams arrange for their own anthems, and while some singers are second-guessing performing the song after Kaepernick’s protest, the organization said “no teams have identified this as an issue.” But on Monday at the Sacramento Kings preseason game, singer Leah Tysse, who is white, kneeled while performing the national anthem.\u003c/p>\n\u003cp>“I have sung the anthem before but this time taking a knee felt like the most patriotic thing I could do. I cannot idly stand by as black people are unlawfully profiled, harassed and killed by our law enforcement over and over and without a drop of accountability,” Tysse wrote on her Facebook page. “The sad reality is, as a white American I am bestowed a certain privilege in this nation that is not enjoyed by all people. Black families are having much different conversations with their children about how to interact with the police than white families. Let’s be honest. Until we can recognize that white privilege exists we cannot have a dialogue about race.”\u003c/p>\n\u003cp>The Kings Organization said in a statement they “respect the personal decision of Leah Tysse to exercise her freedom of speech.”\u003c/p>\n\u003cp>A Quinnipiac University poll released this week shows that most white Americans disapprove of protests by athletes during the national anthem while black Americans approve of the protests by an even larger margin.\u003c/p>\n\u003cp>Pop singer JoJo, who burst on the music scene at 13, said she’s still proud to sing the anthem because of the veterans in her family.\u003c/p>\n\u003cp>“When I sing the national anthem, I’m thinking of the veterans in my family, and I completely respect Colin’s stance to bring awareness to black people who are still facing injustice, and I really do respect it. But for me, I’m just, I enjoy singing the song,” said 25-year-old JoJo, who is white.\u003c/p>\n\u003cp>“Well this is what my mom said to me: ‘We’re all just trying to somehow make things right, so if we can come together as a country over that song, great. But at the end of the day, it’s easier said than done,'” she added.\u003c/p>\n\u003cp>Hamilton said he currently feels mixed emotions about being black in America in these racially charged times, and even sometimes feels betrayed.\u003c/p>\n\u003cp>“It feels like it’s a lie by the way they treat us,” Hamilton, 45, added of the anthem and how blacks are regarded in America. “Seems like the Constitution ain’t really constituting us.”\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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"title": "Berkeley Rep's 'It Can't Happen Here' is All Play and No Politics",
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"content": "\u003cp>The Berkeley Repertory Theatre’s artistic director Tony Taccone reminds us in his program notes that he works for a not-for-profit organization, and that he is “forbidden, by law, to take political positions.” Though he quickly assures us that he and Berkeley Rep can overcome these limitations, “in the work we produce and the culture we create,” and rather wistfully adds, “there’s nothing to stop you from imagining my opinion.”\u003c/p>\n\u003cp>Since the Rep is opening its season with the premiere of Taccone and Bennett S. Cohen’s adaption of Sinclair Lewis’ 1935 anti-fascist novel, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, it seems impossible not to “imagine” what Taccone, the theater, Berkeley, or anyone else in the Bay Area thinks. Yet in raising that question, Taccone inadvertently uncovers a hornet’s nest of political assumptions that the production leaves unattended and unanswered.\u003c/p>\n\u003cp>The play begins with the actors prepping us on how to behave, respond, and think. We will be expected to perform the role of crowd energetically, no matter our true political feelings. We are told that the casting is not historically accurate in case anyone has “a problem with this,” and that “any resemblance in the play to current events is purely coincidental.” There are many winking asides after this last comment.\u003c/p>\n\u003cfigure id=\"attachment_12192308\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12192308 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg\" alt=\"Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the writers and the company have no idea of how to approach the material, and it speaks to the paucity of their theatrical imagination that their first move is an attempt at a faux-Brechtian engagement with the audience. Why bother to break the fourth wall to merely comfort and assure us that we all really understand what’s going on, that we all get the connections, and that we’re all in this together? I’m not even sure that’s a position from which you can think in a political manner.\u003c/p>\n\u003cp>From there, the play shifts registers to a rather old-fashioned mode of presentation, where everything is about the set-up, or, in the parlance of television show runners, “world building.” We meet our hero, the liberal, free-thinking journalist Doremus Jessup, his large family (almost impossible to keep track of or care for), and his community of extended family members and civic leaders. And we learn what might constitute a normal day in Fort Beulah, Vermont — a Fourth of July picnic — all the while catching glimpses (through a political meeting, a radio broadcast and other vignettes) of the rise of right-wing populist Buzz Windrip (a terrific David Kelly). It’s a long and laborsome slog to get to the beginnings of anything approaching drama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drama arrives at last, if only for a moment, about 25\u003cstrong> \u003c/strong>minutes into the play, when Jessup’s eldest son Phillip argues that Windrip and his “lost man” movement are addressing real problems. Phillip uses his father’s handyman, Shad, as a ready example. It’s the first time in the play we get an inkling of real political stakes.\u003c/p>\n\u003cp>But sadly, Taccone and Cohen shut it down. Neither Phillip nor Shad are dramatically significant, and yet both are unnecessarily vile: Phillip treats his brother-in-law’s murder with a high-handed disdain, and Shad is portrayed as nothing more than a jack-booted thug. What the play fears most is not the rise of fascism, but rather the presence of any idea that might discomfort a moderately wealthy liberal.\u003c/p>\n\u003cp>Perhaps Taccone and Cohen are unconsciously feeling the influence of the glut of Young Adult comics, novels, and movies depicting dystopian worlds. Like the teenage mind they’re produced for, these fantasies of rebellion are quick to equate rules and authority with corruption. That’s equally true of \u003cem>It Can’t Happen Here, \u003c/em>a work that’s not truly interested in eliciting debate, confrontation or thinking — only the fantasy of what it might feel like to play at politics.\u003c/p>\n\u003cp>Without any real countervailing positions, all we’re left with is left-wing melodrama: the crusading journalist fighting an emergent fascist state. To say that Jessup suffers and fights is essentially to say that that’s what the fantasy requires. He must speak out, he must be threatened, he must be arrested, he must be tortured, he must survive, he must join the resistance, and he must go on. It’s a well-worn dream, and not anything close to political thought or critique.\u003c/p>\n\u003cfigure id=\"attachment_12192307\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg\" alt=\"(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372-400x228.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In producing \u003cem>It Can’t Happen Here\u003c/em>, the Rep is, of course, warning that it very well could happen here. If you view Donald Trump as an existential threat to American democracy, then the warning is true enough; it could happen here and we should be worried. Yet the threat, as the play presents it, is an unconvincing jumble of clichés, and its politics no more than a desire to play hero in a disaster. As such, it falls in line with all those aforementioned teenage dystopias — \u003cem>The Hunger Games\u003c/em>, \u003cem>The Giver\u003c/em>, \u003cem>Divergent — \u003c/em>that require fascist regimes in order for their young heroes and the audiences who applaud them to feel alive, real, and significant.\u003c/p>\n\u003cp>The last line of the Berkeley Rep’s mission statement says: “Berkeley Rep aspires to use theater as a means to challenge, thrill, and galvanize what is best in the human spirit.” The question is: whose human spirit? In this play, the answer is self-congratulatory: We are selfless heroes who see the unique threats to the American Republic, and those who might feel otherwise are monsters. For all the dangers that Trump poses, Berkeley Rep’s response feels equally dangerous and just as much a fantasy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘It Can’t Happen Here’ runs through Sunday, Nov. 6 at the Berkeley Repertory Theatre in Berkeley. For tickets and information, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Berkeley Rep's 'It Can't Happen Here' is All Play and No Politics",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Repertory Theatre’s artistic director Tony Taccone reminds us in his program notes that he works for a not-for-profit organization, and that he is “forbidden, by law, to take political positions.” Though he quickly assures us that he and Berkeley Rep can overcome these limitations, “in the work we produce and the culture we create,” and rather wistfully adds, “there’s nothing to stop you from imagining my opinion.”\u003c/p>\n\u003cp>Since the Rep is opening its season with the premiere of Taccone and Bennett S. Cohen’s adaption of Sinclair Lewis’ 1935 anti-fascist novel, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, it seems impossible not to “imagine” what Taccone, the theater, Berkeley, or anyone else in the Bay Area thinks. Yet in raising that question, Taccone inadvertently uncovers a hornet’s nest of political assumptions that the production leaves unattended and unanswered.\u003c/p>\n\u003cp>The play begins with the actors prepping us on how to behave, respond, and think. We will be expected to perform the role of crowd energetically, no matter our true political feelings. We are told that the casting is not historically accurate in case anyone has “a problem with this,” and that “any resemblance in the play to current events is purely coincidental.” There are many winking asides after this last comment.\u003c/p>\n\u003cfigure id=\"attachment_12192308\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12192308 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg\" alt=\"Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the writers and the company have no idea of how to approach the material, and it speaks to the paucity of their theatrical imagination that their first move is an attempt at a faux-Brechtian engagement with the audience. Why bother to break the fourth wall to merely comfort and assure us that we all really understand what’s going on, that we all get the connections, and that we’re all in this together? I’m not even sure that’s a position from which you can think in a political manner.\u003c/p>\n\u003cp>From there, the play shifts registers to a rather old-fashioned mode of presentation, where everything is about the set-up, or, in the parlance of television show runners, “world building.” We meet our hero, the liberal, free-thinking journalist Doremus Jessup, his large family (almost impossible to keep track of or care for), and his community of extended family members and civic leaders. And we learn what might constitute a normal day in Fort Beulah, Vermont — a Fourth of July picnic — all the while catching glimpses (through a political meeting, a radio broadcast and other vignettes) of the rise of right-wing populist Buzz Windrip (a terrific David Kelly). It’s a long and laborsome slog to get to the beginnings of anything approaching drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drama arrives at last, if only for a moment, about 25\u003cstrong> \u003c/strong>minutes into the play, when Jessup’s eldest son Phillip argues that Windrip and his “lost man” movement are addressing real problems. Phillip uses his father’s handyman, Shad, as a ready example. It’s the first time in the play we get an inkling of real political stakes.\u003c/p>\n\u003cp>But sadly, Taccone and Cohen shut it down. Neither Phillip nor Shad are dramatically significant, and yet both are unnecessarily vile: Phillip treats his brother-in-law’s murder with a high-handed disdain, and Shad is portrayed as nothing more than a jack-booted thug. What the play fears most is not the rise of fascism, but rather the presence of any idea that might discomfort a moderately wealthy liberal.\u003c/p>\n\u003cp>Perhaps Taccone and Cohen are unconsciously feeling the influence of the glut of Young Adult comics, novels, and movies depicting dystopian worlds. Like the teenage mind they’re produced for, these fantasies of rebellion are quick to equate rules and authority with corruption. That’s equally true of \u003cem>It Can’t Happen Here, \u003c/em>a work that’s not truly interested in eliciting debate, confrontation or thinking — only the fantasy of what it might feel like to play at politics.\u003c/p>\n\u003cp>Without any real countervailing positions, all we’re left with is left-wing melodrama: the crusading journalist fighting an emergent fascist state. To say that Jessup suffers and fights is essentially to say that that’s what the fantasy requires. He must speak out, he must be threatened, he must be arrested, he must be tortured, he must survive, he must join the resistance, and he must go on. It’s a well-worn dream, and not anything close to political thought or critique.\u003c/p>\n\u003cfigure id=\"attachment_12192307\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg\" alt=\"(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372-400x228.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In producing \u003cem>It Can’t Happen Here\u003c/em>, the Rep is, of course, warning that it very well could happen here. If you view Donald Trump as an existential threat to American democracy, then the warning is true enough; it could happen here and we should be worried. Yet the threat, as the play presents it, is an unconvincing jumble of clichés, and its politics no more than a desire to play hero in a disaster. As such, it falls in line with all those aforementioned teenage dystopias — \u003cem>The Hunger Games\u003c/em>, \u003cem>The Giver\u003c/em>, \u003cem>Divergent — \u003c/em>that require fascist regimes in order for their young heroes and the audiences who applaud them to feel alive, real, and significant.\u003c/p>\n\u003cp>The last line of the Berkeley Rep’s mission statement says: “Berkeley Rep aspires to use theater as a means to challenge, thrill, and galvanize what is best in the human spirit.” The question is: whose human spirit? In this play, the answer is self-congratulatory: We are selfless heroes who see the unique threats to the American Republic, and those who might feel otherwise are monsters. For all the dangers that Trump poses, Berkeley Rep’s response feels equally dangerous and just as much a fantasy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘It Can’t Happen Here’ runs through Sunday, Nov. 6 at the Berkeley Repertory Theatre in Berkeley. For tickets and information, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marin Theatre Company to Cast Female as Mowgli in 'Jungle Book'",
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"content": "\u003cp>So it turns out that Mowgli may be a girl.\u003c/p>\n\u003cp>Mowgli is the hero of \u003cem>The Jungle Book\u003c/em>, Rudyard Kipling’s story collection about a wild boy raised by wolves in India. Most people are familiar with the story from Disney’s 1967 animated movie, for which child actor Bruce Reitherman voiced the role, or the live action Disney remake from last spring. Both of those Mowglis are male.\u003c/p>\n\u003cp>But the \u003ca href=\"http://www.marintheatre.org/productions/the-jungle-book\">Marin Theatre Company\u003c/a> (MTC) has cast the young, local actress Sango Tajima as Mowgli in its Family Series Production of \u003cem>Jungle Book\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jqmUoteadZI\u003c/p>\n\u003cp>The idea for the gender switch came from the play’s director Login Ellis. MTC got approval to cast a female in the lead role Wednesday from Greg Banks, the author of this adaptation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kipling’s stories, written in the 1890’s, are in the public domain.\u003c/p>\n\u003cp>“We just thought it was right time to do it and the right cast to do it with,” says Jason Minadakis, artistic director for MTC. “With everything that is going on today, we thought it was really important to re-envision [the work] with a female hero at the center of the play, one that has always been so male-centric.”\u003c/p>\n\u003cfigure id=\"attachment_12196028\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12196028\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sango-Tajima-Mowgli-in-MTCs-Jungle-Book-1-e1476320846672.jpg\" alt=\"Sango Tajima plays Mowgli in MTC's Jungle Book\" width=\"298\" height=\"218\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima plays Mowgli in MTC’s Jungle Book \u003ccite>(Photo: Courtesy of Sango Tajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By “everything going on today,” Minadakis says he means the Presidential campaign that could result in the election of Hillary Clinton as the first woman U.S. President, as well as the growing awareness of gender inequities throughout society.\u003c/p>\n\u003cp>“It just seems like we need to be re-envisioning stories that we hold as cultural touchstones, and letting the power of those stories apply to women and people of color who may have felt left out before,” Minadakis says.\u003c/p>\n\u003cp>Minadakis says the show’s director and dramaturg went through the script carefully to ensure all the gender references were correct for a woman in the role of Mowgli.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there was no need to tweak the name itself. Kipling made up the name, claiming that Mowgli was a wolf word for a smooth-skinned creature like a frog.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So it turns out that Mowgli may be a girl.\u003c/p>\n\u003cp>Mowgli is the hero of \u003cem>The Jungle Book\u003c/em>, Rudyard Kipling’s story collection about a wild boy raised by wolves in India. Most people are familiar with the story from Disney’s 1967 animated movie, for which child actor Bruce Reitherman voiced the role, or the live action Disney remake from last spring. Both of those Mowglis are male.\u003c/p>\n\u003cp>But the \u003ca href=\"http://www.marintheatre.org/productions/the-jungle-book\">Marin Theatre Company\u003c/a> (MTC) has cast the young, local actress Sango Tajima as Mowgli in its Family Series Production of \u003cem>Jungle Book\u003c/em>.\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/jqmUoteadZI'\n title='//www.youtube.com/embed/jqmUoteadZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The idea for the gender switch came from the play’s director Login Ellis. MTC got approval to cast a female in the lead role Wednesday from Greg Banks, the author of this adaptation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kipling’s stories, written in the 1890’s, are in the public domain.\u003c/p>\n\u003cp>“We just thought it was right time to do it and the right cast to do it with,” says Jason Minadakis, artistic director for MTC. “With everything that is going on today, we thought it was really important to re-envision [the work] with a female hero at the center of the play, one that has always been so male-centric.”\u003c/p>\n\u003cfigure id=\"attachment_12196028\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12196028\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sango-Tajima-Mowgli-in-MTCs-Jungle-Book-1-e1476320846672.jpg\" alt=\"Sango Tajima plays Mowgli in MTC's Jungle Book\" width=\"298\" height=\"218\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima plays Mowgli in MTC’s Jungle Book \u003ccite>(Photo: Courtesy of Sango Tajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By “everything going on today,” Minadakis says he means the Presidential campaign that could result in the election of Hillary Clinton as the first woman U.S. President, as well as the growing awareness of gender inequities throughout society.\u003c/p>\n\u003cp>“It just seems like we need to be re-envisioning stories that we hold as cultural touchstones, and letting the power of those stories apply to women and people of color who may have felt left out before,” Minadakis says.\u003c/p>\n\u003cp>Minadakis says the show’s director and dramaturg went through the script carefully to ensure all the gender references were correct for a woman in the role of Mowgli.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there was no need to tweak the name itself. Kipling made up the name, claiming that Mowgli was a wolf word for a smooth-skinned creature like a frog.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
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