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"content": "\u003cp>Don Buchla, the electronic musical instrument designer who built one of the first modular synthesizers and whose influence on electronic music is still prevalent today, died Wednesday at the age of 79. As of Friday, the cause of his death is unknown, although he had dealt with health issues since suffering a stroke in 2014.\u003c/p>\n\u003cp>https://www.facebook.com/Moogfest/photos/a.494609860606668.1073741828.436371526430502/1180761295324851/\u003c/p>\n\u003cp>Born in South Gate, Calif. in 1937, Buchla attended UC Berkeley before founding his musical instrument company, Buchla & Associates, in 1962. He was soon commissioned by the influential San Francisco Tape Music Center to build an electronic instrument that could be controlled with voltage for experimental composers Morton Subotnick and Ramon Sender. \u003c/p>\n\u003cfigure id=\"attachment_12078299\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/buchla101.jpg\" alt='A Buchla 100 series, which Buchla designed to help avant garde composers move away from the difficult tape splicing work required of \"Musique Concrete\" ' width=\"446\" height=\"209\" class=\"size-full wp-image-12078299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/buchla101.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/buchla101-400x187.jpg 400w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">A Buchla 100 series, which Buchla designed to help avant garde composers move away from the difficult tape splicing work required of “Musique Concrete” \u003ccite>(Photo: Courtesy of the Vintage Synth Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an additional $500 grant from the Rockfeller Foundation, Buchla designed and built the Buchla 100 series Modular Electronic Music System, the first-of-its-kind synthesizer combining multiple components that either generated or manipulated sounds. \u003c/p>\n\u003cp>Subotnick would use the instrument to write and record \u003ci>Silver Apples of the Moon,\u003c/i> the first electronic music composition to be commissioned by a record company and the composer’s most popular work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EelvKqhu1M4\u003c/p>\n\u003cp>By 1966, Buchla was selling the Buchla 100 commercially and did so until 1969, when CBS bought the rights to the instrument. CBS quickly dropped production after apparently deciding there was no potential in the synthesizer market. \u003c/p>\n\u003cp>Buchla would go onto to design the 200 series Electric Music Box. Released in 1970, the 200 was an upgraded version of the Buchla 100; each sound parameter was controlled by an outside sequential voltage source, also known as the first electronic sequencer. The 200 was a success, and sold commercially until 1985. (Buchla revamped the 200 series in 2004 and sold them as the 200e.) \u003c/p>\n\u003cp>Throughout the ’70s, Buchla would design and manufacture several electronic musical instruments, including the 300 and 500 Series, as well as the Music Easel, a small, self-contained analog synthesizer intended for live performance. Housed in a small case, it featured the same patch-style controls of other Buchla synths but included a controller that looked like a keyboard, yet didn’t have keys — Buchla would later state that he thought keyboards on synths were “unnatural.”\u003c/p>\n\u003cp>“Two years ago, we decided it was time to stop dreaming about a new electronic instrument and actually create one,” Buchla wrote in the introduction of the Music Easel’s manual, \u003ci>\u003ca href=\"http://www.buchla.com/guides/Music-Easel-Operation-Manual-2nd-Ed.pdf\" target=\"_blank\" rel=\"noopener\">Programming and Meta-Programming in the Electro-Organism: An Operating Directive for the Music Easel.\u003c/a>\u003c/i> \u003c/p>\n\u003cp>“We weren’t particularly interested in imitating any extant instruments, either functionally or acoustically,” he added. “We did want the potential for expressive, real time performer-instrument interaction.”\u003c/p>\n\u003cp>Buchla would end up designing a synthesizer that incorporated a more traditional style keyboard called the Touché in the late ’70s. In the ’80s, Buchla would design software-controlled instruments and several midi controllers.\u003c/p>\n\u003cp>Buchla sold his company to an Australian company, Sound-Music, in 2012. It was renamed Buchla Electronic Music Instruments and moved to Oregon, with Buchla still working with the company. After his stroke in 2014, Buchla was fired, which led to the designer suing the company the following year \u003ca href=\"http://cdm.link/2015/03/synth-pioneer-don-buchla-takes-owners-former-company-court/\" target=\"_blank\" rel=\"noopener\">for wrongful termination\u003c/a>. The suit was settled in arbitration earlier this year, \u003ca href=\"https://dockets.justia.com/docket/california/candce/3:2015cv00921/285234\" target=\"_blank\" rel=\"noopener\">according to court records\u003c/a>.\u003c/p>\n\u003cp>After news of his death spread online, electronic musicians took to social media to express their condolences.\u003c/p>\n\u003cp>https://twitter.com/kaitlynaurelia/status/776897971078045697\u003c/p>\n\u003cp>It should be noted that around the same time Buchla was designing the Buchla 100, on the east coast, Theremin builder Robert Moog was designing his Moog modular synthesizer, which could be controlled by a keyboard. Moog, whose brand of synthesizers would become a standard in electronic music, admired Buchla’s work, \u003ca href=\"https://en.wikipedia.org/wiki/Music_sequencer#cite_note-holmes2008-16\" target=\"_blank\" rel=\"noopener\">stating that\u003c/a> Buchla’s designs were for not only for making new sounds “but [for] making textures out of these sounds by specifying when these sounds could change and how regular those changes would be.” \u003c/p>\n\u003cp>Because the two designers lived on opposite coasts while building their synths, their modes of synthesis are typically referred to as \u003ca href=\"http://www.synthtopia.com/content/2016/06/23/tony-rolando-on-east-coast-synthesis-west-coast-synthesis/\" target=\"_blank\" rel=\"noopener\">“East Coast” (Moog) and “West Coast” (Buchla)\u003c/a>. \u003ca href=\"http://www.factmag.com/2016/09/16/don-buchla-dies-synthesizer/\" target=\"_blank\" rel=\"noopener\">FACTmagazine\u003c/a>’s obituary for Buchla sums up their differences clearly:\u003c/p>\n\u003cblockquote>\u003cp>While the East Coast favored “subtractive” synthesis, where a waveform would be filtered to subtract frequencies from the resulting sound, the more experimental West Coast method was “additive”, using complicated oscillators, waveshaping and frequency modulation (FM).\u003c/p>\u003c/blockquote>\n\u003cp>While Moog and Buchla created their instruments concurrently, Moog is more widely known than Buchla, likely due to his synthesizers going into mass production faster than Buchla’s, according to Lance Hill, owner of the Vintage Synthesizer Museum in Oakland.\u003c/p>\n\u003cp>“Everyone says that Bob Moog was the godfather of synths, but he and Buchla were building them at the same time,” Hill said. “Buchla was equally as influential.”\u003c/p>\n\u003cp>Buchla is survived by his wife Anne-Marie Bonnel, his two daughters Erin Buchla and Jeannine Serbanich, and his son Ezra, formerly of the LA avant-punk band Mae Shi.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> According to the \u003ca href=\"http://www.nytimes.com/2016/09/18/arts/music/don-buchla-dead.html?_r=0\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>, Buchla died from complications of cancer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Buchla, the electronic musical instrument designer who built one of the first modular synthesizers and whose influence on electronic music is still prevalent today, died Wednesday at the age of 79. As of Friday, the cause of his death is unknown, although he had dealt with health issues since suffering a stroke in 2014.\u003c/p>\n\u003cp>https://www.facebook.com/Moogfest/photos/a.494609860606668.1073741828.436371526430502/1180761295324851/\u003c/p>\n\u003cp>Born in South Gate, Calif. in 1937, Buchla attended UC Berkeley before founding his musical instrument company, Buchla & Associates, in 1962. He was soon commissioned by the influential San Francisco Tape Music Center to build an electronic instrument that could be controlled with voltage for experimental composers Morton Subotnick and Ramon Sender. \u003c/p>\n\u003cfigure id=\"attachment_12078299\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/buchla101.jpg\" alt='A Buchla 100 series, which Buchla designed to help avant garde composers move away from the difficult tape splicing work required of \"Musique Concrete\" ' width=\"446\" height=\"209\" class=\"size-full wp-image-12078299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/buchla101.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/buchla101-400x187.jpg 400w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">A Buchla 100 series, which Buchla designed to help avant garde composers move away from the difficult tape splicing work required of “Musique Concrete” \u003ccite>(Photo: Courtesy of the Vintage Synth Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an additional $500 grant from the Rockfeller Foundation, Buchla designed and built the Buchla 100 series Modular Electronic Music System, the first-of-its-kind synthesizer combining multiple components that either generated or manipulated sounds. \u003c/p>\n\u003cp>Subotnick would use the instrument to write and record \u003ci>Silver Apples of the Moon,\u003c/i> the first electronic music composition to be commissioned by a record company and the composer’s most popular work. \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/EelvKqhu1M4'\n title='//www.youtube.com/embed/EelvKqhu1M4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 1966, Buchla was selling the Buchla 100 commercially and did so until 1969, when CBS bought the rights to the instrument. CBS quickly dropped production after apparently deciding there was no potential in the synthesizer market. \u003c/p>\n\u003cp>Buchla would go onto to design the 200 series Electric Music Box. Released in 1970, the 200 was an upgraded version of the Buchla 100; each sound parameter was controlled by an outside sequential voltage source, also known as the first electronic sequencer. The 200 was a success, and sold commercially until 1985. (Buchla revamped the 200 series in 2004 and sold them as the 200e.) \u003c/p>\n\u003cp>Throughout the ’70s, Buchla would design and manufacture several electronic musical instruments, including the 300 and 500 Series, as well as the Music Easel, a small, self-contained analog synthesizer intended for live performance. Housed in a small case, it featured the same patch-style controls of other Buchla synths but included a controller that looked like a keyboard, yet didn’t have keys — Buchla would later state that he thought keyboards on synths were “unnatural.”\u003c/p>\n\u003cp>“Two years ago, we decided it was time to stop dreaming about a new electronic instrument and actually create one,” Buchla wrote in the introduction of the Music Easel’s manual, \u003ci>\u003ca href=\"http://www.buchla.com/guides/Music-Easel-Operation-Manual-2nd-Ed.pdf\" target=\"_blank\" rel=\"noopener\">Programming and Meta-Programming in the Electro-Organism: An Operating Directive for the Music Easel.\u003c/a>\u003c/i> \u003c/p>\n\u003cp>“We weren’t particularly interested in imitating any extant instruments, either functionally or acoustically,” he added. “We did want the potential for expressive, real time performer-instrument interaction.”\u003c/p>\n\u003cp>Buchla would end up designing a synthesizer that incorporated a more traditional style keyboard called the Touché in the late ’70s. In the ’80s, Buchla would design software-controlled instruments and several midi controllers.\u003c/p>\n\u003cp>Buchla sold his company to an Australian company, Sound-Music, in 2012. It was renamed Buchla Electronic Music Instruments and moved to Oregon, with Buchla still working with the company. After his stroke in 2014, Buchla was fired, which led to the designer suing the company the following year \u003ca href=\"http://cdm.link/2015/03/synth-pioneer-don-buchla-takes-owners-former-company-court/\" target=\"_blank\" rel=\"noopener\">for wrongful termination\u003c/a>. The suit was settled in arbitration earlier this year, \u003ca href=\"https://dockets.justia.com/docket/california/candce/3:2015cv00921/285234\" target=\"_blank\" rel=\"noopener\">according to court records\u003c/a>.\u003c/p>\n\u003cp>After news of his death spread online, electronic musicians took to social media to express their condolences.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It should be noted that around the same time Buchla was designing the Buchla 100, on the east coast, Theremin builder Robert Moog was designing his Moog modular synthesizer, which could be controlled by a keyboard. Moog, whose brand of synthesizers would become a standard in electronic music, admired Buchla’s work, \u003ca href=\"https://en.wikipedia.org/wiki/Music_sequencer#cite_note-holmes2008-16\" target=\"_blank\" rel=\"noopener\">stating that\u003c/a> Buchla’s designs were for not only for making new sounds “but [for] making textures out of these sounds by specifying when these sounds could change and how regular those changes would be.” \u003c/p>\n\u003cp>Because the two designers lived on opposite coasts while building their synths, their modes of synthesis are typically referred to as \u003ca href=\"http://www.synthtopia.com/content/2016/06/23/tony-rolando-on-east-coast-synthesis-west-coast-synthesis/\" target=\"_blank\" rel=\"noopener\">“East Coast” (Moog) and “West Coast” (Buchla)\u003c/a>. \u003ca href=\"http://www.factmag.com/2016/09/16/don-buchla-dies-synthesizer/\" target=\"_blank\" rel=\"noopener\">FACTmagazine\u003c/a>’s obituary for Buchla sums up their differences clearly:\u003c/p>\n\u003cblockquote>\u003cp>While the East Coast favored “subtractive” synthesis, where a waveform would be filtered to subtract frequencies from the resulting sound, the more experimental West Coast method was “additive”, using complicated oscillators, waveshaping and frequency modulation (FM).\u003c/p>\u003c/blockquote>\n\u003cp>While Moog and Buchla created their instruments concurrently, Moog is more widely known than Buchla, likely due to his synthesizers going into mass production faster than Buchla’s, according to Lance Hill, owner of the Vintage Synthesizer Museum in Oakland.\u003c/p>\n\u003cp>“Everyone says that Bob Moog was the godfather of synths, but he and Buchla were building them at the same time,” Hill said. “Buchla was equally as influential.”\u003c/p>\n\u003cp>Buchla is survived by his wife Anne-Marie Bonnel, his two daughters Erin Buchla and Jeannine Serbanich, and his son Ezra, formerly of the LA avant-punk band Mae Shi.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> According to the \u003ca href=\"http://www.nytimes.com/2016/09/18/arts/music/don-buchla-dead.html?_r=0\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>, Buchla died from complications of cancer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pandora said it has revamped its $5 a month Internet radio service, giving listeners the ability to skip and replay more songs.\u003c/p>\n\u003cp>The update, announced Thursday, comes two days after Pandora signed music licensing deals with major and independent labels. It also said this week it planned to offer \u003ca href=\"https://www.apnews.com/2b1563c33a5e455983dd4b7c3acfd3e5/Pandora-takes-on-Spotify,-Apple-with-new-streaming-services\" target=\"_blank\" rel=\"noopener\">a new $10 monthly on-demand streaming service\u003c/a> by the end of the year that would better compete with rivals Spotify and Apple Music.\u003c/p>\n\u003cp>The new radio service is being called Pandora Plus and will replace Pandora One, which has 4 million subscribers. Those subscribers will be switched over to Pandora Plus and the service will continue to be ad-free.\u003c/p>\n\u003cp>Pandora said the free version, which plays ads, will also be updated. Listeners will be able to skip or replay more songs if they click to play a video ad, the company said. Most people listen to Pandora without paying. It had a total of 78.1 million listeners in the second quarter, down 2 percent from the same period a year before.\u003c/p>\n\u003cp>The new versions of the radio service will be launched Thursday in the U.S. and roll out on its apps in the coming months, the company said. Listeners in Australia and New Zealand will see the changes next year, it said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora is different than Spotify and Apple Music, because Pandora users currently can’t choose which songs they want to listen to. Instead, listeners choose artists or songs they like and Pandora puts together a playlist. Listeners are limited by how many times they can skip or replay a song. But Pandora plans to change that with its on-demand option, which it plans to release before the end of the year.\u003c/p>\n\u003cp>The Oakland, California, company has been facing increasing competition. Spotify already has 40 million paying subscribers. And Apple Inc.’s music service, launched last year, has 17 million.\u003c/p>\n\u003cp>Shares of Oakland, California-based Pandora Media Inc. rose 6 cents to $13.37 in midday trading Thursday.\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>Pandora said it has revamped its $5 a month Internet radio service, giving listeners the ability to skip and replay more songs.\u003c/p>\n\u003cp>The update, announced Thursday, comes two days after Pandora signed music licensing deals with major and independent labels. It also said this week it planned to offer \u003ca href=\"https://www.apnews.com/2b1563c33a5e455983dd4b7c3acfd3e5/Pandora-takes-on-Spotify,-Apple-with-new-streaming-services\" target=\"_blank\" rel=\"noopener\">a new $10 monthly on-demand streaming service\u003c/a> by the end of the year that would better compete with rivals Spotify and Apple Music.\u003c/p>\n\u003cp>The new radio service is being called Pandora Plus and will replace Pandora One, which has 4 million subscribers. Those subscribers will be switched over to Pandora Plus and the service will continue to be ad-free.\u003c/p>\n\u003cp>Pandora said the free version, which plays ads, will also be updated. Listeners will be able to skip or replay more songs if they click to play a video ad, the company said. Most people listen to Pandora without paying. It had a total of 78.1 million listeners in the second quarter, down 2 percent from the same period a year before.\u003c/p>\n\u003cp>The new versions of the radio service will be launched Thursday in the U.S. and roll out on its apps in the coming months, the company said. Listeners in Australia and New Zealand will see the changes next year, it said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora is different than Spotify and Apple Music, because Pandora users currently can’t choose which songs they want to listen to. Instead, listeners choose artists or songs they like and Pandora puts together a playlist. Listeners are limited by how many times they can skip or replay a song. But Pandora plans to change that with its on-demand option, which it plans to release before the end of the year.\u003c/p>\n\u003cp>The Oakland, California, company has been facing increasing competition. Spotify already has 40 million paying subscribers. And Apple Inc.’s music service, launched last year, has 17 million.\u003c/p>\n\u003cp>Shares of Oakland, California-based Pandora Media Inc. rose 6 cents to $13.37 in midday trading Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-cultural-hub-is-reborn-in-san-franciscos-bay-view",
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"content": "\u003cp>Fifty years ago this month, the Bayview-Hunter’s Point District exploded in \u003ca href=\"http://sfbayview.com/2016/07/50-years-since-the-1966-hunters-point-uprising-and-black-lives-still-dont-matter/\" target=\"_blank\" rel=\"noopener\">three days of protests\u003c/a> after a white police officer shot a 16-year-old black man in the back. The governor called in the National Guard to patrol the mostly African-American neighborhood, and people holed up in the \u003ca href=\"http://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House \u003c/a>on Third Street.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/283106211″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cfigure id=\"attachment_12072864\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072864 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg\" alt=\"The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-768x1163.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-779x1180.jpg 779w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1920x2907.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1180x1787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-960x1454.jpg 960w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.thebayinstitute.org/page/detail/283\" target=\"_blank\" rel=\"noopener\">Angelique Tompkins \u003c/a>remembers: “The building became a sanctuary at that time.”\u003c/p>\n\u003cp>The Tompkins family is rooted five generations deep in the Bayview. Angelique is a community activist who’s worked for years to revive the opera house as a place to meet and debate issues like \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> or gentrification.\u003c/p>\n\u003cp>“Talking about what was resistance,” Tompkins said recently while sitting in the Victorian jewel box of a theater. “What was protest, what is resilience in this community, and what we see now as another period of renaissance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That new renaissance begins when the opera house, originally built in 1888, holds its grand reopening Saturday, Sept. 17, after a $5.7 million renovation, paid for by the city and nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_12072865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12072865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/001-800x495.jpg\" alt=\"Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Executive Director Barbara Ockel says that starting next week, the opera house will welcome kids back for after-school arts programs in dance and music, and concerts as well.\u003c/p>\n\u003cp>“What was always the most wonderful aspect of working here was the sound of the kids,” Ockel said.\u003c/p>\n\u003cp>“What we heard from the community was that they wanted a heart for the community,” said Paul Cooper of TEF Design. Cooper worked with the African-American landscape designer Walter Hood to preserve the opera house’s architecture as well as improve its accessibility. Hood set up a rocking chair on the porch for listening sessions in which he took suggestions on the redesign from local residents.\u003c/p>\n\u003cp>“Our job,” Cooper said as he showed me around, “was to listen to those ideas and harness all the energy that is already here in the community and build on that.”\u003c/p>\n\u003cp>Cooper oversaw the almost invisible seismic upgrades to the building, and making it \u003ca href=\"http://www.interactiveaccessibility.com/services/ada-compliance\" target=\"_blank\" rel=\"noopener\">ADA compliant\u003c/a>. Outside, there’s a new walkway, outdoor theater, drought tolerant plantings and a patch of green.\u003c/p>\n\u003cfigure id=\"attachment_12072866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072866 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg\" alt=\"Outdoor theater at the Bayview Opera House\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outdoor theater at the Bayview Opera House \u003ccite>(Photo: Anne Hamersky/Bay View Opera House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So now where we had a really ugly parking lot where people were working on their cars,” said Ockel, “we have a beautiful lawn for the kids to play on.”\u003c/p>\n\u003cp>The reopening party Saturday will feature performances by Mary Booker, who has taught theater and poetry in the Bayview for decades; the Prescott Circus Theatre, and PUSH Dance Company, with its production about the slow cleanup of toxic waste at the Hunters Point shipyards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After all the work, though, Ockel notes the opera house still needs work. “The paint is peeling outside, and we need to upgrade the stage lighting and sound, which date back to the 1970’s.” So Ockel says the fundraising will continue.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago this month, the Bayview-Hunter’s Point District exploded in \u003ca href=\"http://sfbayview.com/2016/07/50-years-since-the-1966-hunters-point-uprising-and-black-lives-still-dont-matter/\" target=\"_blank\" rel=\"noopener\">three days of protests\u003c/a> after a white police officer shot a 16-year-old black man in the back. The governor called in the National Guard to patrol the mostly African-American neighborhood, and people holed up in the \u003ca href=\"http://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House \u003c/a>on Third Street.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/283106211″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/283106211″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_12072864\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072864 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg\" alt=\"The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-768x1163.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-779x1180.jpg 779w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1920x2907.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1180x1787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-960x1454.jpg 960w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.thebayinstitute.org/page/detail/283\" target=\"_blank\" rel=\"noopener\">Angelique Tompkins \u003c/a>remembers: “The building became a sanctuary at that time.”\u003c/p>\n\u003cp>The Tompkins family is rooted five generations deep in the Bayview. Angelique is a community activist who’s worked for years to revive the opera house as a place to meet and debate issues like \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> or gentrification.\u003c/p>\n\u003cp>“Talking about what was resistance,” Tompkins said recently while sitting in the Victorian jewel box of a theater. “What was protest, what is resilience in this community, and what we see now as another period of renaissance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That new renaissance begins when the opera house, originally built in 1888, holds its grand reopening Saturday, Sept. 17, after a $5.7 million renovation, paid for by the city and nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_12072865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12072865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/001-800x495.jpg\" alt=\"Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Executive Director Barbara Ockel says that starting next week, the opera house will welcome kids back for after-school arts programs in dance and music, and concerts as well.\u003c/p>\n\u003cp>“What was always the most wonderful aspect of working here was the sound of the kids,” Ockel said.\u003c/p>\n\u003cp>“What we heard from the community was that they wanted a heart for the community,” said Paul Cooper of TEF Design. Cooper worked with the African-American landscape designer Walter Hood to preserve the opera house’s architecture as well as improve its accessibility. Hood set up a rocking chair on the porch for listening sessions in which he took suggestions on the redesign from local residents.\u003c/p>\n\u003cp>“Our job,” Cooper said as he showed me around, “was to listen to those ideas and harness all the energy that is already here in the community and build on that.”\u003c/p>\n\u003cp>Cooper oversaw the almost invisible seismic upgrades to the building, and making it \u003ca href=\"http://www.interactiveaccessibility.com/services/ada-compliance\" target=\"_blank\" rel=\"noopener\">ADA compliant\u003c/a>. Outside, there’s a new walkway, outdoor theater, drought tolerant plantings and a patch of green.\u003c/p>\n\u003cfigure id=\"attachment_12072866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072866 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg\" alt=\"Outdoor theater at the Bayview Opera House\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outdoor theater at the Bayview Opera House \u003ccite>(Photo: Anne Hamersky/Bay View Opera House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So now where we had a really ugly parking lot where people were working on their cars,” said Ockel, “we have a beautiful lawn for the kids to play on.”\u003c/p>\n\u003cp>The reopening party Saturday will feature performances by Mary Booker, who has taught theater and poetry in the Bayview for decades; the Prescott Circus Theatre, and PUSH Dance Company, with its production about the slow cleanup of toxic waste at the Hunters Point shipyards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After all the work, though, Ockel notes the opera house still needs work. “The paint is peeling outside, and we need to upgrade the stage lighting and sound, which date back to the 1970’s.” So Ockel says the fundraising will continue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Martin Schmidt and Drew Daniel found the inspiration for their latest album in the basement of their house with an object that for most of us inspires only drudgery. A washing machine. The pair made an album of music almost entirely out of sounds sampled from their washer.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282932575\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>This is not the first time Schmidt and Daniel have relied on an unexpected instrument to make an album. The duo have an electronic band called Matmos, which is famous for doing things like making music out of surgery sounds and sampling the neural activity of crayfish. Now with their most recent album, \"Ultimate Care II,\" they can add a Whirlpool washing machine to their repertoire.\u003c/p>\n\u003cp>Schmidt and Daniel started Matmos in the Bay Area. They worked with Icelandic singer Bjork and performed at the Yerba Buena Center for the Arts. They have since moved to Baltimore, where they harnessed the Whirlpool in their basement to make \"Ultimate Care II,\" their first album in three years. The previous record, \"The Marriage of True Minds,\" involved deprivation tanks, parapsychological experiments and a remake of a song from the late '70s called \"E.S.P.\"\u003c/p>\n\u003cp>\"Ultimate Care II\" has only one track, and it is about the length of a wash cycle. If you listen to the excerpt above, you should be able to pick out a few sounds that will remind you of the last time you did your laundry. Perhaps with your next load you'll feel a little less drudgery. Maybe you'll even be compelled to try a little drumbeat of your own on the metallic top of your washer. You'll find that it makes quite a pleasant sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To hear more wonderful and weird auditory treats, check out \u003ca href=\"http://www.theworldaccordingtosound.org\" target=\"_blank\">The World According to Sound\u003c/a> podcast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Martin Schmidt and Drew Daniel found the inspiration for their latest album in the basement of their house with an object that for most of us inspires only drudgery. A washing machine. The pair made an album of music almost entirely out of sounds sampled from their washer.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/282932575&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/282932575'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is not the first time Schmidt and Daniel have relied on an unexpected instrument to make an album. The duo have an electronic band called Matmos, which is famous for doing things like making music out of surgery sounds and sampling the neural activity of crayfish. Now with their most recent album, \"Ultimate Care II,\" they can add a Whirlpool washing machine to their repertoire.\u003c/p>\n\u003cp>Schmidt and Daniel started Matmos in the Bay Area. They worked with Icelandic singer Bjork and performed at the Yerba Buena Center for the Arts. They have since moved to Baltimore, where they harnessed the Whirlpool in their basement to make \"Ultimate Care II,\" their first album in three years. The previous record, \"The Marriage of True Minds,\" involved deprivation tanks, parapsychological experiments and a remake of a song from the late '70s called \"E.S.P.\"\u003c/p>\n\u003cp>\"Ultimate Care II\" has only one track, and it is about the length of a wash cycle. If you listen to the excerpt above, you should be able to pick out a few sounds that will remind you of the last time you did your laundry. Perhaps with your next load you'll feel a little less drudgery. Maybe you'll even be compelled to try a little drumbeat of your own on the metallic top of your washer. You'll find that it makes quite a pleasant sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Leonard Haze, original drummer for East Bay hard rockers Y&T, died Sunday at the age of 61 after a long battle with chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hazexperience/posts/1548020788557476\" target=\"_blank\" rel=\"noopener\">A press release\u003c/a> from Haze’s band, HazeXperience, stated “Haze had been battling chronic obstructive pulmonary disease (COPD) for several years, making breathing difficult. Even so, he had fought to keep playing drums, performing regularly with his band, HazeXperience, and joining Y&T on-stage at the Fillmore in San Francisco in both 2015 and 2016.”\u003c/p>\n\u003cp>Haze died in his sleep Sunday evening in his hometown of Hayward, where he, Bob Gardner, and Wayne Stitzer started playing together in an unnamed cover band back in 1972. A year later, guitarist Dave Meniketti joined the group and the band found a name before their first show: Yesterday and Today, taken from the Beatles album they were listening to on Haze’s stereo while they were brainstorming.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UqCfZIyljVk\u003c/p>\n\u003cp>Gardner and Stitzer would leave the group, to be replaced by bassist Phil Kennemore and guitarist Joey Alves. With the new lineup, Yesterday and Today began writing their own songs and playing shows all over the Bay Area and beyond. They were often the headlining band, with bands like Van Halen, Mötley Crüe and Stevie Ray Vaughan opening for them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Y&T made a name for itself not only for their heavy riffs and Meniketti’s smoking leads, but for Haze’s standout drumming; his kick drum work was compared frequently to that of Led Zeppelin’s legendary drummer John Bonham.\u003c/p>\n\u003cp>The band would go on to record several albums with that lineup, finally having a radio hit with 1984 with “Don’t Stop Runnin'” off their sixth album, \u003ci>In Rock We Trust.\u003c/i> The following year the band released their biggest hit, “Summertime Girls,” which had a popular MTV video that was surely a product of its time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8b2SVxOPwww\u003c/p>\n\u003cp>In 1986, Haze was booted from the band he founded for unknown reasons. But he never gave up playing and later joined former Deep Purple singer Ian Gillian’s group, with whom Haze toured to 71 countries, including the Soviet Union.\u003c/p>\n\u003cp>Haze joined a reformed Y&T in 2001. But left the band in 2006. He continued to play on other projects while battling COPD. He reportedly started HazeXperience just two years ago and he would play shows while hooked up to an oxygen tank.\u003c/p>\n\u003cp>“The worst gig I’ve ever had is still better than the best day anyone has working a forty-hour week,” Haze says \u003ca href=\"http://www.hazexperience.com/bio-leonard.html\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>. “Getting paid to play music is a dream job on par with being a pro athlete, astronaut, or movie star. To make money doing something you love for 35 years…who says we didn’t make it big?”\u003c/p>\n\u003cp>Haze played his last show with HazeXperience on Aug. 20 in Sunnyvale, and he had two more shows scheduled in November at the Mystic Theatre in Petaluma. He was also recording new songs for a new EP. \u003c/p>\n\u003cp>After his death was announced, many in the Bay Area expressed condolences for Haze.\u003c/p>\n\u003cp>“Rest in Peace to long time friend and a major influence in my musical life Leonard Haze. I’m just shocked to hear the news this morning,” Jimmy Francis of the band “Crucifix” wrote on Facebook.\u003c/p>\n\u003cp>Old bandmates weighed in as well.\u003c/p>\n\u003cp>“It is with shock and sadness that I type this. Leonard Haze, the legendary drummer, and a guy I spent decades with creating great music together, has passed away at 61. This, just a few days after his birthday,” \u003ca href=\"https://www.facebook.com/DaveMeniketti/posts/1462133057139084\" target=\"_blank\" rel=\"noopener\">Meniketti wrote on Facebook\u003c/a>.\u003c/p>\n\u003cp>Haze is survived by his wife Kelly and his stepdaughter. Y&T band mate Kennemore \u003ca href=\"http://www.billboard.com/articles/news/473737/phil-kennemore-yt-bassist-dies-at-57\" target=\"_blank\" rel=\"noopener\">died in 2011 at the age of 57\u003c/a>, shortly after being diagnosed with lung cancer while touring with Y&T.\u003c/p>\n\u003cp>\u003ci>Watch Haze playing with Y&T in San Francisco in 2015:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JL6FFrNJOfE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leonard Haze, original drummer for East Bay hard rockers Y&T, died Sunday at the age of 61 after a long battle with chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hazexperience/posts/1548020788557476\" target=\"_blank\" rel=\"noopener\">A press release\u003c/a> from Haze’s band, HazeXperience, stated “Haze had been battling chronic obstructive pulmonary disease (COPD) for several years, making breathing difficult. Even so, he had fought to keep playing drums, performing regularly with his band, HazeXperience, and joining Y&T on-stage at the Fillmore in San Francisco in both 2015 and 2016.”\u003c/p>\n\u003cp>Haze died in his sleep Sunday evening in his hometown of Hayward, where he, Bob Gardner, and Wayne Stitzer started playing together in an unnamed cover band back in 1972. A year later, guitarist Dave Meniketti joined the group and the band found a name before their first show: Yesterday and Today, taken from the Beatles album they were listening to on Haze’s stereo while they were brainstorming.\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/UqCfZIyljVk'\n title='//www.youtube.com/embed/UqCfZIyljVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gardner and Stitzer would leave the group, to be replaced by bassist Phil Kennemore and guitarist Joey Alves. With the new lineup, Yesterday and Today began writing their own songs and playing shows all over the Bay Area and beyond. They were often the headlining band, with bands like Van Halen, Mötley Crüe and Stevie Ray Vaughan opening for them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Y&T made a name for itself not only for their heavy riffs and Meniketti’s smoking leads, but for Haze’s standout drumming; his kick drum work was compared frequently to that of Led Zeppelin’s legendary drummer John Bonham.\u003c/p>\n\u003cp>The band would go on to record several albums with that lineup, finally having a radio hit with 1984 with “Don’t Stop Runnin'” off their sixth album, \u003ci>In Rock We Trust.\u003c/i> The following year the band released their biggest hit, “Summertime Girls,” which had a popular MTV video that was surely a product of its time.\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/8b2SVxOPwww'\n title='//www.youtube.com/embed/8b2SVxOPwww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1986, Haze was booted from the band he founded for unknown reasons. But he never gave up playing and later joined former Deep Purple singer Ian Gillian’s group, with whom Haze toured to 71 countries, including the Soviet Union.\u003c/p>\n\u003cp>Haze joined a reformed Y&T in 2001. But left the band in 2006. He continued to play on other projects while battling COPD. He reportedly started HazeXperience just two years ago and he would play shows while hooked up to an oxygen tank.\u003c/p>\n\u003cp>“The worst gig I’ve ever had is still better than the best day anyone has working a forty-hour week,” Haze says \u003ca href=\"http://www.hazexperience.com/bio-leonard.html\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>. “Getting paid to play music is a dream job on par with being a pro athlete, astronaut, or movie star. To make money doing something you love for 35 years…who says we didn’t make it big?”\u003c/p>\n\u003cp>Haze played his last show with HazeXperience on Aug. 20 in Sunnyvale, and he had two more shows scheduled in November at the Mystic Theatre in Petaluma. He was also recording new songs for a new EP. \u003c/p>\n\u003cp>After his death was announced, many in the Bay Area expressed condolences for Haze.\u003c/p>\n\u003cp>“Rest in Peace to long time friend and a major influence in my musical life Leonard Haze. I’m just shocked to hear the news this morning,” Jimmy Francis of the band “Crucifix” wrote on Facebook.\u003c/p>\n\u003cp>Old bandmates weighed in as well.\u003c/p>\n\u003cp>“It is with shock and sadness that I type this. Leonard Haze, the legendary drummer, and a guy I spent decades with creating great music together, has passed away at 61. This, just a few days after his birthday,” \u003ca href=\"https://www.facebook.com/DaveMeniketti/posts/1462133057139084\" target=\"_blank\" rel=\"noopener\">Meniketti wrote on Facebook\u003c/a>.\u003c/p>\n\u003cp>Haze is survived by his wife Kelly and his stepdaughter. Y&T band mate Kennemore \u003ca href=\"http://www.billboard.com/articles/news/473737/phil-kennemore-yt-bassist-dies-at-57\" target=\"_blank\" rel=\"noopener\">died in 2011 at the age of 57\u003c/a>, shortly after being diagnosed with lung cancer while touring with Y&T.\u003c/p>\n\u003cp>\u003ci>Watch Haze playing with Y&T in San Francisco in 2015:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JL6FFrNJOfE'\n title='//www.youtube.com/embed/JL6FFrNJOfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp class=\"p1\">\u003cspan class=\"s1\">Whether they’ve been driving lowriders since the 1970s or are working on customizing their first car in 2016, San Francisco Bay Area lowriders share a love for driving “low and slow,” according to Roberto Hernandez. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For lowriders like Hernandez, cars are about more than custom paint jobs and bumping hydraulics — there’s a romance to it. “It’s like a dancing machine,” Hernandez says.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The art of lowriding comes from the customization — the endless possibilities for making a statement with each tiny detail of a classic car. Each creative decision a lowrider makes is an expression of his or her own personal style. “This is where I feel at home, I can be who I want to be,” says Ruby Ramirez, a member of the \u003ca href=\"https://www.facebook.com/CalifasBombClub/about/?entry_point=page_nav_about_item\" target=\"_blank\" rel=\"noopener\">Califas Bomb Club\u003c/a>, a Bay Area association of lowriders. \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s2\">That’s just one reason why Hernandez believes lowriding isn’t going anywhere. “I know this is just gonna keep going, it’s not gonna stop,” he says. “It’s magic!”\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cem>Want to know more about local lowrider history? Check out \u003ca href=\"https://ww2.kqed.org/news/2015/08/18/sideshows-the-birth-of-oaklands-hyphy-culture/\" target=\"_blank\" rel=\"noopener\">this story\u003c/a> about the birth of Oakland’s hyphy culture from KQED’s Sandhya Dirks. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">Whether they’ve been driving lowriders since the 1970s or are working on customizing their first car in 2016, San Francisco Bay Area lowriders share a love for driving “low and slow,” according to Roberto Hernandez. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For lowriders like Hernandez, cars are about more than custom paint jobs and bumping hydraulics — there’s a romance to it. “It’s like a dancing machine,” Hernandez says.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The art of lowriding comes from the customization — the endless possibilities for making a statement with each tiny detail of a classic car. Each creative decision a lowrider makes is an expression of his or her own personal style. “This is where I feel at home, I can be who I want to be,” says Ruby Ramirez, a member of the \u003ca href=\"https://www.facebook.com/CalifasBombClub/about/?entry_point=page_nav_about_item\" target=\"_blank\" rel=\"noopener\">Califas Bomb Club\u003c/a>, a Bay Area association of lowriders. \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s2\">That’s just one reason why Hernandez believes lowriding isn’t going anywhere. “I know this is just gonna keep going, it’s not gonna stop,” he says. “It’s magic!”\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cem>Want to know more about local lowrider history? Check out \u003ca href=\"https://ww2.kqed.org/news/2015/08/18/sideshows-the-birth-of-oaklands-hyphy-culture/\" target=\"_blank\" rel=\"noopener\">this story\u003c/a> about the birth of Oakland’s hyphy culture from KQED’s Sandhya Dirks. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Alexis Arquette, the transgender character actress and sibling of actors David, Rosanna, Richmond and Patricia Arquette, died early Sunday morning in Los Angeles. She was 47 and surrounded by family who serenaded her with David Bowie’s “Starman,” her siblings said in a statement Sunday. No cause of death was given.\u003c/p>\n\u003cp>“Alexis was a brilliant artist and painter, a singer, an entertainer and an actor,” her brothers and sisters said. “We learned what real bravery is through watching her journey of living as a trans woman. We came to discover the one truth — that love is everything.”\u003c/p>\n\u003cp>Alexis was born Robert Arquette in Los Angeles in 1969, and she was a performer from a young age, appearing in a music video for The Tubes’ “She’s a Beauty” at age 12 and the occasional other project.\u003c/p>\n\u003cp>A versatile performer, Arquette got her big break in the 1989 adaptation of \u003cem>Last Exit to Brooklyn\u003c/em> where she played the trans sex worker Georgette. She was just visiting New York with her sister Patricia Arquette who was up for a role in the film, but pregnant at the time.\u003c/p>\n\u003cp>“They asked me if I wanted to read for a role because they knew that I’d done a drag thing at one of my friend’s clubs,” Arquette said in a 1999 \u003cem>Index Magazine\u003c/em> interview. “I ended up getting the job, basically through my sister. If it wasn’t for her, I wouldn’t have been in New York. But nobody gives you a job, you’ve got to earn it on your own. I would never want anyone to think that there’s some kind of cachet to my name.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She also had bit roles in films like \u003cem>Pulp Fiction\u003c/em>, \u003cem>Bride of Chucky\u003c/em> and as a Boy George impersonator first in the Adam Sandler comedy \u003cem>The Wedding Singer\u003c/em> and again in \u003cem>Blended\u003c/em>.\u003c/p>\n\u003cp>Boy George even tweeted his condolences to “his sister Alexis … another bright light gone out far too soon.”\u003c/p>\n\u003cp>Her long list of credits are comprised of mostly low-budget and independent fare. Arquette also performed in nightclubs and cabarets sometimes under the name Eva Destruction.\u003c/p>\n\u003cp>“I enjoy being a character actor, I enjoy being different in everything. I want a private life, I want to be able to go to 7-11 and not get into a fight with a guy because he saw me in a movie, or not have people hitting on me simply because they saw me in a movie,” Arquette said in the 1999 interview. “You want to be wanted for who you are, not what you’ve done or who you’ve become.”\u003c/p>\n\u003cp>Arquette also appeared on season 6 of the VH1 reality series \u003cem>The Surreal Life\u003c/em>, and she was credited for bringing increased awareness and visibility to the transgender community.\u003c/p>\n\u003cp>She chronicled her transition and the process of her sex reassignment surgery in the 2007 documentary \u003cem>Alexis Arquette: She’s My Brother\u003c/em>.\u003c/p>\n\u003cp>In their statement, the Arquettes said that their sister’s career “was cut short, not by her passing, but by her decision to live her truth and her life as a transgender woman.”\u003c/p>\n\u003cp>“Despite the fact that there are few parts for trans actors, she refused to play roles that were demeaning or stereotypical,” they said. “She was a vanguard in the fight for understanding and acceptance for all trans people.”\u003c/p>\n\u003cp>The Arquette family has requested privacy at this time, and that donations be made to organizations that support the LGBTQ community in honor of Alexis Arquette in lieu of flowers or gifts.\u003c/p>\n\u003cp>“We are comforted by the fact that Alexis came into our family and was our brother and then our sister, and that she gave us so much love. We will love you always, Alexis,” said the Arquette siblings. “We know we were the lucky ones.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"title": "Transgender Actress Alexis Arquette has Died at 47 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alexis Arquette, the transgender character actress and sibling of actors David, Rosanna, Richmond and Patricia Arquette, died early Sunday morning in Los Angeles. She was 47 and surrounded by family who serenaded her with David Bowie’s “Starman,” her siblings said in a statement Sunday. No cause of death was given.\u003c/p>\n\u003cp>“Alexis was a brilliant artist and painter, a singer, an entertainer and an actor,” her brothers and sisters said. “We learned what real bravery is through watching her journey of living as a trans woman. We came to discover the one truth — that love is everything.”\u003c/p>\n\u003cp>Alexis was born Robert Arquette in Los Angeles in 1969, and she was a performer from a young age, appearing in a music video for The Tubes’ “She’s a Beauty” at age 12 and the occasional other project.\u003c/p>\n\u003cp>A versatile performer, Arquette got her big break in the 1989 adaptation of \u003cem>Last Exit to Brooklyn\u003c/em> where she played the trans sex worker Georgette. She was just visiting New York with her sister Patricia Arquette who was up for a role in the film, but pregnant at the time.\u003c/p>\n\u003cp>“They asked me if I wanted to read for a role because they knew that I’d done a drag thing at one of my friend’s clubs,” Arquette said in a 1999 \u003cem>Index Magazine\u003c/em> interview. “I ended up getting the job, basically through my sister. If it wasn’t for her, I wouldn’t have been in New York. But nobody gives you a job, you’ve got to earn it on your own. I would never want anyone to think that there’s some kind of cachet to my name.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She also had bit roles in films like \u003cem>Pulp Fiction\u003c/em>, \u003cem>Bride of Chucky\u003c/em> and as a Boy George impersonator first in the Adam Sandler comedy \u003cem>The Wedding Singer\u003c/em> and again in \u003cem>Blended\u003c/em>.\u003c/p>\n\u003cp>Boy George even tweeted his condolences to “his sister Alexis … another bright light gone out far too soon.”\u003c/p>\n\u003cp>Her long list of credits are comprised of mostly low-budget and independent fare. Arquette also performed in nightclubs and cabarets sometimes under the name Eva Destruction.\u003c/p>\n\u003cp>“I enjoy being a character actor, I enjoy being different in everything. I want a private life, I want to be able to go to 7-11 and not get into a fight with a guy because he saw me in a movie, or not have people hitting on me simply because they saw me in a movie,” Arquette said in the 1999 interview. “You want to be wanted for who you are, not what you’ve done or who you’ve become.”\u003c/p>\n\u003cp>Arquette also appeared on season 6 of the VH1 reality series \u003cem>The Surreal Life\u003c/em>, and she was credited for bringing increased awareness and visibility to the transgender community.\u003c/p>\n\u003cp>She chronicled her transition and the process of her sex reassignment surgery in the 2007 documentary \u003cem>Alexis Arquette: She’s My Brother\u003c/em>.\u003c/p>\n\u003cp>In their statement, the Arquettes said that their sister’s career “was cut short, not by her passing, but by her decision to live her truth and her life as a transgender woman.”\u003c/p>\n\u003cp>“Despite the fact that there are few parts for trans actors, she refused to play roles that were demeaning or stereotypical,” they said. “She was a vanguard in the fight for understanding and acceptance for all trans people.”\u003c/p>\n\u003cp>The Arquette family has requested privacy at this time, and that donations be made to organizations that support the LGBTQ community in honor of Alexis Arquette in lieu of flowers or gifts.\u003c/p>\n\u003cp>“We are comforted by the fact that Alexis came into our family and was our brother and then our sister, and that she gave us so much love. We will love you always, Alexis,” said the Arquette siblings. “We know we were the lucky ones.”\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": "Anja Ulfeldt Makes Art From the Unappealing Sounds of Aging Plumbing",
"headTitle": "Anja Ulfeldt Makes Art From the Unappealing Sounds of Aging Plumbing | KQED",
"content": "\u003cp>Anja Ulfeldt makes visible what most of us choose to ignore.\u003c/p>\n\u003cp>Oakland neighborhoods, like the one the artist lives in, are comprised of aging houses and apartment buildings. The large plumbing pipes that hang from the sides of them routinely go unnoticed. You think, “All that rust and gunk: What an eyesore!” if you think of them at all. And the background noise of running water — from the toilet flush to the bathtub draining — is usually a mild annoyance and not a pleasure to hear.\u003c/p>\n\u003cfigure id=\"attachment_12035381\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg\" alt=\"The antique hand pump for Domestic Infrastructure #3\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">The antique hand pump for “Domestic Infrastructure #3” \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Of Sound l Mind and Objects\u003c/em>,\u003c/a> Ulfeldt’s new exhibition at San Francisco’s Museum of Craft and Design, is out to prove otherwise. The artist had a lucky run at a local salvage yard and found similar sized pipes from demolished buildings. At the museum, she has mounted an entire gallery wall with these enormous pipes, sealing them together and filling them with water. Against the high, white wall, the eye-catching installation \u003cem>Domestic Infrastructure #3\u003c/em> resembles a metallic alphabet, letters in an alien tongue.\u003c/p>\n\u003cp>But apart from its visual impact, Ulfeldt has made what she calls “a performable object” — an interactive piece that yields more meaning from active engagement than from a passive gallery stroll. The point is to elicit a response in the participant through the use of sound and physical motion.\u003c/p>\n\u003cp>The pipes are fitted externally with microphones and internally with hydrophones. Speakers amplify the sound of water moving up and down and around the structure. There are two ways to activate all that gurgling and burbling. You can simply walk up close and the water slowly begins to travel. Alternatively, you move an antique hand pump back and forth until the water begins to vigorously rise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What results is a dripping, sodden concerto of your own making. The sounds recall the music generated by the \u003ca href=\"http://www.exploratorium.edu/visit/wave-organ\" target=\"_blank\" rel=\"noopener\">Wave Organ\u003c/a>, that beloved sound art installation on the waterfront near San Francisco’s Marina. It’s soothing and discordant, an unorthodox rhythm bubbling up from the sea’s melancholy.\u003c/p>\n\u003cfigure id=\"attachment_12035382\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg\" alt=\"Anja Ulfeldt at The Museum of Craft and Design\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">Anja Ulfeldt at The Museum of Craft and Design \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The explanatory signage hanging in the gallery states : “The installation draws parallels between external infrastructures in the built environment and the circulatory and digestive systems of the human body.”\u003c/p>\n\u003cp>But in listening to Ulfeldt talk about her process as she constructed \u003cem>Domestic Infrastructure #3\u003c/em>, it’s the industry of her endeavor that’s compelling — more so than the theory behind it. The artist placed the pipes on the ground below her studio in an arrangement made from her initial sketches. Then, she walked upstairs to a higher floor, looking down to see what to adjust, before heading back downstairs to fix it.\u003c/p>\n\u003cp>With this work, Ulfeldt is sending a message to us and the planet. You can hear it when a hand cranks the pump, forcing the water to rise up against gravity, until all that water music recedes and fades into a silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Anja Ulfeldt: Of Sound l Mind and Objects\u003c/em>\u003c/a> will be on show through Sunday, Jan. 22, 2017 at The Museum of Craft and Design in San Francisco. \u003c/strong>\u003c/p>\n\n",
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"excerpt": "The Oakland artist's compelling installation at SF's Museum of Craft and Design connects the dots between the infrastructure of buildings and the human body's circulatory and digestive systems.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anja Ulfeldt makes visible what most of us choose to ignore.\u003c/p>\n\u003cp>Oakland neighborhoods, like the one the artist lives in, are comprised of aging houses and apartment buildings. The large plumbing pipes that hang from the sides of them routinely go unnoticed. You think, “All that rust and gunk: What an eyesore!” if you think of them at all. And the background noise of running water — from the toilet flush to the bathtub draining — is usually a mild annoyance and not a pleasure to hear.\u003c/p>\n\u003cfigure id=\"attachment_12035381\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg\" alt=\"The antique hand pump for Domestic Infrastructure #3\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-1916-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">The antique hand pump for “Domestic Infrastructure #3” \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Of Sound l Mind and Objects\u003c/em>,\u003c/a> Ulfeldt’s new exhibition at San Francisco’s Museum of Craft and Design, is out to prove otherwise. The artist had a lucky run at a local salvage yard and found similar sized pipes from demolished buildings. At the museum, she has mounted an entire gallery wall with these enormous pipes, sealing them together and filling them with water. Against the high, white wall, the eye-catching installation \u003cem>Domestic Infrastructure #3\u003c/em> resembles a metallic alphabet, letters in an alien tongue.\u003c/p>\n\u003cp>But apart from its visual impact, Ulfeldt has made what she calls “a performable object” — an interactive piece that yields more meaning from active engagement than from a passive gallery stroll. The point is to elicit a response in the participant through the use of sound and physical motion.\u003c/p>\n\u003cp>The pipes are fitted externally with microphones and internally with hydrophones. Speakers amplify the sound of water moving up and down and around the structure. There are two ways to activate all that gurgling and burbling. You can simply walk up close and the water slowly begins to travel. Alternatively, you move an antique hand pump back and forth until the water begins to vigorously rise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What results is a dripping, sodden concerto of your own making. The sounds recall the music generated by the \u003ca href=\"http://www.exploratorium.edu/visit/wave-organ\" target=\"_blank\" rel=\"noopener\">Wave Organ\u003c/a>, that beloved sound art installation on the waterfront near San Francisco’s Marina. It’s soothing and discordant, an unorthodox rhythm bubbling up from the sea’s melancholy.\u003c/p>\n\u003cfigure id=\"attachment_12035382\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg\" alt=\"Anja Ulfeldt at The Museum of Craft and Design\" width=\"481\" height=\"720\" class=\"size-full wp-image-12035382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/8.18.16_MCDSF-28-401x600.jpg 401w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">Anja Ulfeldt at The Museum of Craft and Design \u003ccite>(Photo: Courtesy of Dallis Willard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The explanatory signage hanging in the gallery states : “The installation draws parallels between external infrastructures in the built environment and the circulatory and digestive systems of the human body.”\u003c/p>\n\u003cp>But in listening to Ulfeldt talk about her process as she constructed \u003cem>Domestic Infrastructure #3\u003c/em>, it’s the industry of her endeavor that’s compelling — more so than the theory behind it. The artist placed the pipes on the ground below her studio in an arrangement made from her initial sketches. Then, she walked upstairs to a higher floor, looking down to see what to adjust, before heading back downstairs to fix it.\u003c/p>\n\u003cp>With this work, Ulfeldt is sending a message to us and the planet. You can hear it when a hand cranks the pump, forcing the water to rise up against gravity, until all that water music recedes and fades into a silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfmcd.org/exhibitions-anja-ulfeldt/\" target=\"_blank\" rel=\"noopener\">\u003cem>Anja Ulfeldt: Of Sound l Mind and Objects\u003c/em>\u003c/a> will be on show through Sunday, Jan. 22, 2017 at The Museum of Craft and Design in San Francisco. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big",
"title": "Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282596322\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>[contextly_sidebar id=\"NPpjN80NLp1II4W4eKPTHelQoJDUWime\"]\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"large\" ids=\"11085204,11085327\"]\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/282596322&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/282596322'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "surfing-dogs-crush-it-at-norcal-championships-in-pacifica",
"title": "Surfing Dogs Crush It at NorCal Championships in Pacifica",
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"content": "\u003cp>Dog surfing competitions are popular all over the country and beyond. But shockingly, despite the freezing water and wind chill, there’s never been one in Northern California. Not, that is, until this past weekend at the \u003ca href=\"http://www.surfdogchampionships.com/\" target=\"_blank\" rel=\"noopener\">World Dog Surfing Championships\u003c/a> in Pacifica.\u003c/p>\n\u003cp>Abbie Girl, the Australian Kelpie pictured above, won top honors at Linda Mar Beach. Abbie Girl’s “dad” is Michael Uy. When he’s not running a tech start up called \u003ca href=\"http://www.thebluetribe.com/\" target=\"_blank\" rel=\"noopener\">Blue Tribe\u003c/a> in San Diego, Uy, 46, is busy managing Abbie’s career.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282600443″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This canine champion of the waves has her own \u003ca href=\"http://www.abbiesurfs.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>, of course, as well as a strong presence on \u003ca href=\"https://www.facebook.com/abbiesurfs/?fref=ts\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, \u003ca href=\"https://twitter.com/abbiesurfs\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>, and \u003ca href=\"https://www.instagram.com/abbiesurfs/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. And that’s not all. Abbie Girl has done commercials, appeared on TV, and even had a cameo role in the 2010 movie \u003cem>Marmaduke\u003c/em>. She’s got sponsorships, including \u003ca href=\"http://intsoftboards.com/\" target=\"_blank\" rel=\"noopener\">INT Surfboards\u003c/a> in Carlsbad, and is a GoPro ambassador.\u003c/p>\n\u003cp>As is \u003ca href=\"https://www.facebook.com/brandysurfs\" target=\"_blank\" rel=\"noopener\">Brandy the Pug\u003c/a>, who came in second.\u003c/p>\n\u003cfigure id=\"attachment_12053988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053988 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg\" alt=\"Don't let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A “tail” of two surfing dogs\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brandy is also Abbie’s “bae” (Before Anyone Else) on social media and in the water, where the two dogs ride side-by-side, and even tandem together. It’s hard to overstate how chill these canines are, whether on the beach with hordes of onlookers crowding around, or in the surf, completely un-phased when their boards go flying out from under them.\u003c/p>\n\u003cp>Jonny Dorman, Brandy’s dad, says Abbie has an easier time of it on the surfboard because she’s, well, bigger than Brandy.\u003c/p>\n\u003cp>Not that Brandy fails to make an impression.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=3_2Bg06nS8E]\u003c/p>\n\u003cp>Brandy started in a backyard pool with boogie boards. She couldn’t stay out of the water if her human family was in it.\u003c/p>\n\u003cp>Abbie’s journey towards surfing glory, meanwhile, started in the ocean. She was a rescue dog in need of a confidence-building sport. Uy found her at \u003ca href=\"http://www.hssv.org/\" target=\"_blank\" rel=\"noopener\">Humane Society Silicon Valley\u003c/a> 10 years ago. Then they moved to San Diego, where Uy is an open water swimmer. “I didn’t surf before my dog did; I learned after my dog,” Uy says. “She used to follow me out into the water. We just put her on a surfboard to rest one day, and she stood up, which is unusual.”\u003c/p>\n\u003cp>Nine years later, Abbie is doing the animal surfing circuit. A couple of weeks ago, she lost out to a cat and pig duo in Hawaii. Seriously.\u003c/p>\n\u003cp>https://www.instagram.com/p/BJlv2MOAmdm/?hl=en\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Kama the Surfing Pig is also a \u003ca href=\"https://www.youtube.com/watch?v=HgQPyU3J0P0\" target=\"_blank\" rel=\"noopener\">GoPro\u003c/a> superstar. Kitty’s just starting, but she’s on the verge of social media stardom.\u003c/p>\n\u003cp>\u003cstrong>A sport for dogs? Or snap-happy dog lovers? Or both?\u003c/strong>\u003c/p>\n\u003cp>All comers with a life vest and dog-sized surfboard were welcome to compete in Pacifica. But even though the event attracted hundreds of onlookers to the chilly beach on Saturday morning, only five canine surfers signed up for the challenge. Compare that to the 60 to 70 dogs that show up to compete at more established contests in Southern California and Hawaii, where the water is, like, warmer.\u003c/p>\n\u003cp>8uuuuuuuuuuuuuuuuuuuuuuuuuuuuuu. (Sorry, that’s my cat, Owl, commenting that the obvious problem of this story is the canine focus.)\u003c/p>\n\u003cp>With so few competitors, all the dogs who braved the water at Saturday’s event won ribbons. There’s no prize purse, but the competition helps to raise money for charities including the \u003ca href=\"http://www.marinhumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Marin Humane Society\u003c/a>, \u003ca href=\"http://www.muttville.org/\" target=\"_blank\" rel=\"noopener\">Muttville\u003c/a>, and the \u003ca href=\"https://www.peninsulahumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Peninsula Humane Society\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12053989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12053989\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg\" alt=\"There was no shortage of people to check out - and photograph - the five dogs and their humans willing to brave the cold waters off Linda Mar Beach.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There was no shortage of people to check out – and photograph – the five dogs and their humans willing to brave the cold waters off Linda Mar Beach. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the small turnout of dogs, Andre Crump, co-author of the book that started this craze, \u003ca href=\"https://www.amazon.com/Dogs-Guide-Surfing-Hanging-Friend/dp/0979864062\" target=\"_blank\" rel=\"noopener\">\u003cem>The \u003c/em>\u003cem>DOG’S\u003c/em>\u003cem> \u003c/em>\u003cem>Guide to \u003c/em>\u003cem>SURFING\u003c/em>\u003cem>: Hanging Ten with Man’s Best Friend\u003c/em>\u003c/a>, hopes that the sport will take off in Northern California, as it has already done in Southern California, Hawaii, Texas, Florida and Australia. “You know, as long as we can have a fun event this first time, and bring awareness to the sport and bring awareness to the dog charities, we’ll be pretty happy,” Crump says.\u003c/p>\n\u003cp>\u003cstrong>Although, the weather…\u003c/strong>\u003c/p>\n\u003cp>Temperatures hovered around 60 degrees on Saturday. Though the dogs and their humans were game, it was pretty clear the visitors from Southern California had a hard time maintaining enthusiasm in such frigid conditions.\u003c/p>\n\u003cp>Nevertheless, the dogs appeared to draw energy from the crowd, which gushed and cheered the surfers on as if they were rock stars, just for managing to stay upright on their boards; or even for just for trying to.\u003c/p>\n\u003cfigure id=\"attachment_12053990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053990 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg\" alt=\"Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Wes, a Yorkie/Jack Russell Terrier mix, won third place on his first try at dog surfing. This thrilled his owner, Christine Campopiano of Novato. “He kind of wiped out on his first attempt,” Campopiano says. “And his second. And his third. And I think that was all he had. I’m really proud.”\u003c/p>\n\n",
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"title": "Surfing Dogs Crush It at NorCal Championships in Pacifica | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dog surfing competitions are popular all over the country and beyond. But shockingly, despite the freezing water and wind chill, there’s never been one in Northern California. Not, that is, until this past weekend at the \u003ca href=\"http://www.surfdogchampionships.com/\" target=\"_blank\" rel=\"noopener\">World Dog Surfing Championships\u003c/a> in Pacifica.\u003c/p>\n\u003cp>Abbie Girl, the Australian Kelpie pictured above, won top honors at Linda Mar Beach. Abbie Girl’s “dad” is Michael Uy. When he’s not running a tech start up called \u003ca href=\"http://www.thebluetribe.com/\" target=\"_blank\" rel=\"noopener\">Blue Tribe\u003c/a> in San Diego, Uy, 46, is busy managing Abbie’s career.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/282600443″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/282600443″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This canine champion of the waves has her own \u003ca href=\"http://www.abbiesurfs.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>, of course, as well as a strong presence on \u003ca href=\"https://www.facebook.com/abbiesurfs/?fref=ts\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, \u003ca href=\"https://twitter.com/abbiesurfs\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>, and \u003ca href=\"https://www.instagram.com/abbiesurfs/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. And that’s not all. Abbie Girl has done commercials, appeared on TV, and even had a cameo role in the 2010 movie \u003cem>Marmaduke\u003c/em>. She’s got sponsorships, including \u003ca href=\"http://intsoftboards.com/\" target=\"_blank\" rel=\"noopener\">INT Surfboards\u003c/a> in Carlsbad, and is a GoPro ambassador.\u003c/p>\n\u003cp>As is \u003ca href=\"https://www.facebook.com/brandysurfs\" target=\"_blank\" rel=\"noopener\">Brandy the Pug\u003c/a>, who came in second.\u003c/p>\n\u003cfigure id=\"attachment_12053988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053988 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg\" alt=\"Don't let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A “tail” of two surfing dogs\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brandy is also Abbie’s “bae” (Before Anyone Else) on social media and in the water, where the two dogs ride side-by-side, and even tandem together. It’s hard to overstate how chill these canines are, whether on the beach with hordes of onlookers crowding around, or in the surf, completely un-phased when their boards go flying out from under them.\u003c/p>\n\u003cp>Jonny Dorman, Brandy’s dad, says Abbie has an easier time of it on the surfboard because she’s, well, bigger than Brandy.\u003c/p>\n\u003cp>Not that Brandy fails to make an impression.\u003c/p>\n\u003cp>\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/3_2Bg06nS8E'\n title='//www.youtube.com/embed/3_2Bg06nS8E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brandy started in a backyard pool with boogie boards. She couldn’t stay out of the water if her human family was in it.\u003c/p>\n\u003cp>Abbie’s journey towards surfing glory, meanwhile, started in the ocean. She was a rescue dog in need of a confidence-building sport. Uy found her at \u003ca href=\"http://www.hssv.org/\" target=\"_blank\" rel=\"noopener\">Humane Society Silicon Valley\u003c/a> 10 years ago. Then they moved to San Diego, where Uy is an open water swimmer. “I didn’t surf before my dog did; I learned after my dog,” Uy says. “She used to follow me out into the water. We just put her on a surfboard to rest one day, and she stood up, which is unusual.”\u003c/p>\n\u003cp>Nine years later, Abbie is doing the animal surfing circuit. A couple of weeks ago, she lost out to a cat and pig duo in Hawaii. Seriously.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Kama the Surfing Pig is also a \u003ca href=\"https://www.youtube.com/watch?v=HgQPyU3J0P0\" target=\"_blank\" rel=\"noopener\">GoPro\u003c/a> superstar. Kitty’s just starting, but she’s on the verge of social media stardom.\u003c/p>\n\u003cp>\u003cstrong>A sport for dogs? Or snap-happy dog lovers? Or both?\u003c/strong>\u003c/p>\n\u003cp>All comers with a life vest and dog-sized surfboard were welcome to compete in Pacifica. But even though the event attracted hundreds of onlookers to the chilly beach on Saturday morning, only five canine surfers signed up for the challenge. Compare that to the 60 to 70 dogs that show up to compete at more established contests in Southern California and Hawaii, where the water is, like, warmer.\u003c/p>\n\u003cp>8uuuuuuuuuuuuuuuuuuuuuuuuuuuuuu. (Sorry, that’s my cat, Owl, commenting that the obvious problem of this story is the canine focus.)\u003c/p>\n\u003cp>With so few competitors, all the dogs who braved the water at Saturday’s event won ribbons. There’s no prize purse, but the competition helps to raise money for charities including the \u003ca href=\"http://www.marinhumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Marin Humane Society\u003c/a>, \u003ca href=\"http://www.muttville.org/\" target=\"_blank\" rel=\"noopener\">Muttville\u003c/a>, and the \u003ca href=\"https://www.peninsulahumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Peninsula Humane Society\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12053989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12053989\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg\" alt=\"There was no shortage of people to check out - and photograph - the five dogs and their humans willing to brave the cold waters off Linda Mar Beach.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There was no shortage of people to check out – and photograph – the five dogs and their humans willing to brave the cold waters off Linda Mar Beach. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the small turnout of dogs, Andre Crump, co-author of the book that started this craze, \u003ca href=\"https://www.amazon.com/Dogs-Guide-Surfing-Hanging-Friend/dp/0979864062\" target=\"_blank\" rel=\"noopener\">\u003cem>The \u003c/em>\u003cem>DOG’S\u003c/em>\u003cem> \u003c/em>\u003cem>Guide to \u003c/em>\u003cem>SURFING\u003c/em>\u003cem>: Hanging Ten with Man’s Best Friend\u003c/em>\u003c/a>, hopes that the sport will take off in Northern California, as it has already done in Southern California, Hawaii, Texas, Florida and Australia. “You know, as long as we can have a fun event this first time, and bring awareness to the sport and bring awareness to the dog charities, we’ll be pretty happy,” Crump says.\u003c/p>\n\u003cp>\u003cstrong>Although, the weather…\u003c/strong>\u003c/p>\n\u003cp>Temperatures hovered around 60 degrees on Saturday. Though the dogs and their humans were game, it was pretty clear the visitors from Southern California had a hard time maintaining enthusiasm in such frigid conditions.\u003c/p>\n\u003cp>Nevertheless, the dogs appeared to draw energy from the crowd, which gushed and cheered the surfers on as if they were rock stars, just for managing to stay upright on their boards; or even for just for trying to.\u003c/p>\n\u003cfigure id=\"attachment_12053990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053990 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg\" alt=\"Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Wes, a Yorkie/Jack Russell Terrier mix, won third place on his first try at dog surfing. This thrilled his owner, Christine Campopiano of Novato. “He kind of wiped out on his first attempt,” Campopiano says. “And his second. And his third. And I think that was all he had. I’m really proud.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>, one of the country’s most prominent and long-running annual festivals devoted to new music for orchestras, announced Friday the appointment of a new musical director and conductor.\u003c/p>\n\u003cp>After a year-long search, the Santa Cruz-based festival’s board of directors hired award-winning conductor \u003ca href=\"http://macelaru.com/\" target=\"_blank\" rel=\"noopener\">Cristian Măcelaru\u003c/a> to take over the artistic reins of the 53-year-old event.\u003c/p>\n\u003cp>“We are absolutely thrilled to have found Cristian Măcelaru,” said Cabrillo Festival executive director Ellen Primack, who led the search with the board of directors. “His curiosity and genuine passion for new music, coupled with his skill and dynamism on the podium, make him a perfect fit for the festival.”\u003c/p>\n\u003cp>Măcelaru’s tenure at Cabrillo is effective immediately. The 36-year-old maestro, who hails from Romania, will also continue to serve as the conductor-in-residence at the Philadelphia Orchestra. He makes his home in that city, where he lives with his wife Cheryl and children Beniamin and Maria.\u003c/p>\n\u003cp>Widely considered a rising star in the orchestral music world, Măcelaru has conducted orchestras all over the world, including the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic and the National Symphony Orchestra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Măcelaru is a good fit for Cabrillo because of his passion for new music. “My interest in working closely with living composers, to also be able to go deeper into the meaning of the music they write, never diminished,” he said in an email interview. Măcelaru consistently programs works by living composers, such as John Corigliano, Jake Heggie, Jennifer Higdon, Pierre Jalbert, and Karim Al Zand. His credits include leading the U.S. premieres of the Wynton Marsalis Violin Concerto at the Ravinia Festival with the Chicago Symphony and Nicola Benedetti, and Colin Matthews’ \u003cem>Turning Point\u003c/em> at the Tanglewood Contemporary Music Festival.\u003c/p>\n\u003cp>Măcelaru takes over from Marin Alsop. Alsop was the first conductor to win a MacArthur “Genius” Grant and became the festival’s music director in 1992. As the 58-year-old Alsop leaves after conducting her \u003ca href=\"https://ww2.kqed.org/arts/2015/09/17/marin-alsop-to-step-down-as-leader-of-cabrillo-contemporary-music-festival/\" target=\"_blank\" rel=\"noopener\">25th season at Cabrillo\u003c/a>, Măcelaru says he plans to continue the course that his predecessor set out on with the festival.\u003c/p>\n\u003cp>“During the process of learning about the Cabrillo festival I never felt there was something that needed to change immediately,” Măcelaru said. “Thus my current approach is to continue identifying great talent, both in terms of composition and performance, remain flexible in our embrace of innovation and work hard in maintaining a standard well established already.”\u003c/p>\n\u003cp>\u003cem>The first Cabrillo Festival with Măcelaru at the helm will run from Sunday, Jul. 30 to Saturday, Aug. 12, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Marin Alsop’s tenure at Cabrillo and her ongoing fight to put more women on the podium \u003ca href=\"https://ww2.kqed.org/arts/2016/08/05/marin-alsop-quits-cabrillo-continues-fight-for-women-conductors/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>, one of the country’s most prominent and long-running annual festivals devoted to new music for orchestras, announced Friday the appointment of a new musical director and conductor.\u003c/p>\n\u003cp>After a year-long search, the Santa Cruz-based festival’s board of directors hired award-winning conductor \u003ca href=\"http://macelaru.com/\" target=\"_blank\" rel=\"noopener\">Cristian Măcelaru\u003c/a> to take over the artistic reins of the 53-year-old event.\u003c/p>\n\u003cp>“We are absolutely thrilled to have found Cristian Măcelaru,” said Cabrillo Festival executive director Ellen Primack, who led the search with the board of directors. “His curiosity and genuine passion for new music, coupled with his skill and dynamism on the podium, make him a perfect fit for the festival.”\u003c/p>\n\u003cp>Măcelaru’s tenure at Cabrillo is effective immediately. The 36-year-old maestro, who hails from Romania, will also continue to serve as the conductor-in-residence at the Philadelphia Orchestra. He makes his home in that city, where he lives with his wife Cheryl and children Beniamin and Maria.\u003c/p>\n\u003cp>Widely considered a rising star in the orchestral music world, Măcelaru has conducted orchestras all over the world, including the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic and the National Symphony Orchestra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Măcelaru is a good fit for Cabrillo because of his passion for new music. “My interest in working closely with living composers, to also be able to go deeper into the meaning of the music they write, never diminished,” he said in an email interview. Măcelaru consistently programs works by living composers, such as John Corigliano, Jake Heggie, Jennifer Higdon, Pierre Jalbert, and Karim Al Zand. His credits include leading the U.S. premieres of the Wynton Marsalis Violin Concerto at the Ravinia Festival with the Chicago Symphony and Nicola Benedetti, and Colin Matthews’ \u003cem>Turning Point\u003c/em> at the Tanglewood Contemporary Music Festival.\u003c/p>\n\u003cp>Măcelaru takes over from Marin Alsop. Alsop was the first conductor to win a MacArthur “Genius” Grant and became the festival’s music director in 1992. As the 58-year-old Alsop leaves after conducting her \u003ca href=\"https://ww2.kqed.org/arts/2015/09/17/marin-alsop-to-step-down-as-leader-of-cabrillo-contemporary-music-festival/\" target=\"_blank\" rel=\"noopener\">25th season at Cabrillo\u003c/a>, Măcelaru says he plans to continue the course that his predecessor set out on with the festival.\u003c/p>\n\u003cp>“During the process of learning about the Cabrillo festival I never felt there was something that needed to change immediately,” Măcelaru said. “Thus my current approach is to continue identifying great talent, both in terms of composition and performance, remain flexible in our embrace of innovation and work hard in maintaining a standard well established already.”\u003c/p>\n\u003cp>\u003cem>The first Cabrillo Festival with Măcelaru at the helm will run from Sunday, Jul. 30 to Saturday, Aug. 12, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Marin Alsop’s tenure at Cabrillo and her ongoing fight to put more women on the podium \u003ca href=\"https://ww2.kqed.org/arts/2016/08/05/marin-alsop-quits-cabrillo-continues-fight-for-women-conductors/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "priced-out-artist-moves-to-folsom-leaves-heart-in-san-jose",
"title": "Priced Out Artist Moves To Folsom, Leaves Heart in San Jose",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/atreyart/\" target=\"_blank\" rel=\"noopener\">Erica Atreya\u003c/a> never fell out of love with San Jose. The Silicon Valley capital just became too damn expensive. Her husband, Krishna, really wanted to buy. But even with his engineer’s salary, the couple could only afford to rent a one bedroom town home.\u003c/p>\n\u003cp>The Atreyas soon realized that if left the San Francisco Bay Area, they could actually buy a piece of the proverbial American dream. So they started house-hunting farther and farther afield, in places like Pleasanton, Dublin and Livermore. But their goal of homeownership continued to remain elusive. “We kept getting bought out by people who were offering cash,” Atreya says.\u003c/p>\n\u003cp>Finally, the Atreyas found their way to Folsom, east of Sacramento. Erika Atreya loves the small city’s easy-going vibe and its proximity to nature. But she misses San Jose.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282129559″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>A year and a half out, she continues to struggle with the emotional fallout of the change. “There was more than an adjustment,” says the self-taught visual artist, who lived in San Jose for 18 years before she and her husband decamped for Folsom. “There was depression, and loneliness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For one thing, San Jose’s demographic mix makes for a richer, multi-cultural feel, which Atreya loves. For another, the art gallery scene in Folsom doesn’t really compare to her old home base. “Back home, I had so many people to reach out to in my art community,” Atreya says.\u003c/p>\n\u003cp>\u003cstrong>Room to paint in Folsom\u003c/strong>\u003c/p>\n\u003cp>That said, the Atreyas’ new three-bedroom house gives the couple space to breathe and grow. Now, instead of ever so carefully spreading out on the couch with her materials, as she used to in San Jose, Atreya has her own studio in the garage. She also has enough wall space in the house to accommodate 40 works of art, many by friends she had to leave behind.\u003c/p>\n\u003cp>Atreya is constantly adding to the collection with new works, like this one:\u003c/p>\n\u003cfigure id=\"attachment_11980479\" class=\"wp-caption aligncenter\" style=\"max-width: 549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11980479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg\" alt=\"“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso.\" width=\"549\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg 549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-400x437.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n.jpg 726w\" sizes=\"(max-width: 549px) 100vw, 549px\">\u003cfigcaption class=\"wp-caption-text\">“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso. \u003ccite>(Photo: Courtesy of Anthony Barbaria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did lot of detail and texturization with puff paint,” Atreya says of one of the pieces on display in her home, titled \u003cem>Eve\u003c/em>. “So you can actually touch the piece.”\u003c/p>\n\u003cp>\u003cstrong>Not Johnny Cash’s Folsom\u003c/strong>\u003c/p>\n\u003cp>The Folsom the Atreyas moved to is not the one that comes to mind from the 1968 Johnny Cash song “Folsom Prison Blues.” These days, the city is like a comfortable, middle class Sacramento suburb. \u003ca href=\"http://www.intel.com/content/www/us/en/corporate-responsibility/intel-in-california.html\" target=\"_blank\" rel=\"noopener\">Intel\u003c/a> is the biggest employer. Half the population hails from the San Francisco Bay Area or Southern California.\u003c/p>\n\u003cfigure id=\"attachment_12042710\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042710 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg\" alt='The Atreyas moved numerous times within San Jose before they left. \"We kept moving further away from the main tech companies, because it would get cheaper the further we moved,\" but those rents rose, too.' width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Atreyas moved numerous times within San Jose before they left. “We kept moving further away from the main tech companies, because it would get cheaper the further we moved,” but those rents rose, too. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cyclical,” explains Mary Ann McAlea, senior vice president of the \u003ca href=\"http://www.folsom.partners/\" target=\"_blank\" rel=\"noopener\">Greater Folsom Partnership\u003c/a>, a consortium of organizations that oversee tourism, trade and economic development in the region. McAlea says Folsom’s population expands every time real estate booms to the west. “It’s tied to the real estate values on the coast.”\u003c/p>\n\u003cp>McAlea says Folsom has witnessed a spike in in-migration over the last five years, especially young families looking for more square footage in an area where they can also find well-paying jobs.\u003c/p>\n\u003cp>\u003cstrong>Dramatic losses for San Jose\u003c/strong>\u003c/p>\n\u003cp>In recent years, rising real estate prices have pressured – or forced – artists to leave San Francisco and Oakland for cheaper places elsewhere. The same thing is happening in Silicon Valley.\u003c/p>\n\u003cp>The average rent for a San Jose apartment these days is $2,600 according to the real estate brokerage firm \u003ca href=\"http://www.marcusmillichap.com/research/researchreports/reports/2016/06/20/san-jose-apartment-research-report\" target=\"_blank\" rel=\"noopener\">Marcus & Millichap\u003c/a>. That’s not as bad as San Francisco, but San Jose rents are still steep, and nearly 50 percent higher than they were five years ago.\u003c/p>\n\u003cp>Even for those who can afford to pay the rent, the pull to leave for cheaper living is hard to resist — especially if you’re an artist whose partner makes the bulk of the household income.\u003c/p>\n\u003cfigure id=\"attachment_12042714\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042714 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg\" alt=\"These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the time since she left for Folsom, Atreya says she knows of five other artists who left their hearts in San Jose. This number includes a musician who like her also moved to Sacramento County, a painter who moved in El Dorado County, and three people who left for Oregon. “We know the market has changed drastically,” acknowledges Kerry Adams-Hapner, San Jose’s director of cultural affairs.\u003c/p>\n\u003cp>Adams-Hapner says the city of San Jose is \u003ca href=\"http://www.sanjoseculture.org/DocumentCenter/View/30592\" target=\"_blank\" rel=\"noopener\">surveying its artists\u003c/a> for the second time in eight years to get a current handle on their housing and work space issues. Real estate costs are dramatically higher now. But even five years ago, 47 percent of the 700 artists canvassed in the survey found San Jose area housing unaffordable; two-thirds reported spending more than 30 percent of their income on mortgage or rent.\u003c/p>\n\u003cp>“People need a space to live, fundamentally,” Adams Hapner says. “Also, people need a space to present their work. They need a space to rehearse. And they need spaces also to connect with each other and network.”\u003c/p>\n\u003cfigure id=\"attachment_12042717\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042717 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg\" alt=\"Many Silicon Valley artists, including Steve Borelli of Campbell, don't even begin to pay the rent with their art. But that's not a reason to give up the practice, or the community.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many Silicon Valley artists, including Steve Borelli of Campbell, don’t even begin to pay the rent with their art. But that’s not a reason to give up the practice, or the community. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Folsom, Atreya is gradually building a new network of friends and professional contacts. But she still feels an emotional pull towards her old home. “All my art family’s there, mostly,” Atreya says. “So, my heart’s still here in San Jose.”\u003c/p>\n\u003cp>Atreya still regularly drives three hours southwest to reconnect with her friends in San Jose. She’s still a member of the \u003ca href=\"https://www.facebook.com/SanJoseArtSalon/\" target=\"_blank\" rel=\"noopener\">San Jose Art Salon\u003c/a>, a group of creatives who meet regularly for collective inspiration. And every month, she returns to \u003ca href=\"https://www.facebook.com/Arte.nella.Piazza/?fref=ts\">Arte nella Piazza\u003c/a>, an art bazaar in San Jose’s Little Italy neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Those that stayed behind\u003c/strong>\u003c/p>\n\u003cp>This exodus of artists is depressing for those left behind in the South Bay, too – even if they’re not about to get priced out. At the art fair, Steve Borelli has his own table set up near Atreya’s with his abstract drawings available for sale.\u003c/p>\n\u003cp>“Every passing day, I feel I’m luckier,” Borelli says. Borelli bought a house years ago in Campbell, near San Jose. Borelli pays the mortgage with his salary as a graphic designer. But his true love is drawing – and his connection to the local artists’ community.\u003c/p>\n\u003cp>“I fear for the future,” Borelli says. “You know, if it keeps going the way that it is, eventually you’re going to see a mass migration out, and I just hope it never comes to that.”\u003c/p>\n\u003cfigure id=\"attachment_12042718\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042718 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg\" alt=\"Mia the cat gets interviewed at Erica Atreya's Folsom home.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mia the cat gets interviewed at Erica Atreya’s Folsom home. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exodus is a function of the economy, says Matthew Mahood, president and CEO of the \u003ca href=\"https://www.sjchamber.com/\" target=\"_blank\" rel=\"noopener\">San Jose Silicon Valley Chamber of Commerce\u003c/a>.\u003c/p>\n\u003cp>The loss of school teachers and firefighters might seem to be a more pressing concern for San Jose than the flight of artists. But Mahood says quality of life is equally essential for the region to thrive going forward. “In order to attract and keep a quality workforce, you have to have arts and entertainment,” Mahood says. “Those things where people want to call this home.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Rising real estate prices are pushing artists out of Silicon Valley to places like Stockton, Folsom and Sacramento. But building a community beyond the Bay isn't easy.",
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"title": "Priced Out Artist Moves To Folsom, Leaves Heart in San Jose | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/atreyart/\" target=\"_blank\" rel=\"noopener\">Erica Atreya\u003c/a> never fell out of love with San Jose. The Silicon Valley capital just became too damn expensive. Her husband, Krishna, really wanted to buy. But even with his engineer’s salary, the couple could only afford to rent a one bedroom town home.\u003c/p>\n\u003cp>The Atreyas soon realized that if left the San Francisco Bay Area, they could actually buy a piece of the proverbial American dream. So they started house-hunting farther and farther afield, in places like Pleasanton, Dublin and Livermore. But their goal of homeownership continued to remain elusive. “We kept getting bought out by people who were offering cash,” Atreya says.\u003c/p>\n\u003cp>Finally, the Atreyas found their way to Folsom, east of Sacramento. Erika Atreya loves the small city’s easy-going vibe and its proximity to nature. But she misses San Jose.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/282129559″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/282129559″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A year and a half out, she continues to struggle with the emotional fallout of the change. “There was more than an adjustment,” says the self-taught visual artist, who lived in San Jose for 18 years before she and her husband decamped for Folsom. “There was depression, and loneliness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For one thing, San Jose’s demographic mix makes for a richer, multi-cultural feel, which Atreya loves. For another, the art gallery scene in Folsom doesn’t really compare to her old home base. “Back home, I had so many people to reach out to in my art community,” Atreya says.\u003c/p>\n\u003cp>\u003cstrong>Room to paint in Folsom\u003c/strong>\u003c/p>\n\u003cp>That said, the Atreyas’ new three-bedroom house gives the couple space to breathe and grow. Now, instead of ever so carefully spreading out on the couch with her materials, as she used to in San Jose, Atreya has her own studio in the garage. She also has enough wall space in the house to accommodate 40 works of art, many by friends she had to leave behind.\u003c/p>\n\u003cp>Atreya is constantly adding to the collection with new works, like this one:\u003c/p>\n\u003cfigure id=\"attachment_11980479\" class=\"wp-caption aligncenter\" style=\"max-width: 549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11980479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg\" alt=\"“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso.\" width=\"549\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg 549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-400x437.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n.jpg 726w\" sizes=\"(max-width: 549px) 100vw, 549px\">\u003cfigcaption class=\"wp-caption-text\">“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso. \u003ccite>(Photo: Courtesy of Anthony Barbaria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did lot of detail and texturization with puff paint,” Atreya says of one of the pieces on display in her home, titled \u003cem>Eve\u003c/em>. “So you can actually touch the piece.”\u003c/p>\n\u003cp>\u003cstrong>Not Johnny Cash’s Folsom\u003c/strong>\u003c/p>\n\u003cp>The Folsom the Atreyas moved to is not the one that comes to mind from the 1968 Johnny Cash song “Folsom Prison Blues.” These days, the city is like a comfortable, middle class Sacramento suburb. \u003ca href=\"http://www.intel.com/content/www/us/en/corporate-responsibility/intel-in-california.html\" target=\"_blank\" rel=\"noopener\">Intel\u003c/a> is the biggest employer. Half the population hails from the San Francisco Bay Area or Southern California.\u003c/p>\n\u003cfigure id=\"attachment_12042710\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042710 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg\" alt='The Atreyas moved numerous times within San Jose before they left. \"We kept moving further away from the main tech companies, because it would get cheaper the further we moved,\" but those rents rose, too.' width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Atreyas moved numerous times within San Jose before they left. “We kept moving further away from the main tech companies, because it would get cheaper the further we moved,” but those rents rose, too. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cyclical,” explains Mary Ann McAlea, senior vice president of the \u003ca href=\"http://www.folsom.partners/\" target=\"_blank\" rel=\"noopener\">Greater Folsom Partnership\u003c/a>, a consortium of organizations that oversee tourism, trade and economic development in the region. McAlea says Folsom’s population expands every time real estate booms to the west. “It’s tied to the real estate values on the coast.”\u003c/p>\n\u003cp>McAlea says Folsom has witnessed a spike in in-migration over the last five years, especially young families looking for more square footage in an area where they can also find well-paying jobs.\u003c/p>\n\u003cp>\u003cstrong>Dramatic losses for San Jose\u003c/strong>\u003c/p>\n\u003cp>In recent years, rising real estate prices have pressured – or forced – artists to leave San Francisco and Oakland for cheaper places elsewhere. The same thing is happening in Silicon Valley.\u003c/p>\n\u003cp>The average rent for a San Jose apartment these days is $2,600 according to the real estate brokerage firm \u003ca href=\"http://www.marcusmillichap.com/research/researchreports/reports/2016/06/20/san-jose-apartment-research-report\" target=\"_blank\" rel=\"noopener\">Marcus & Millichap\u003c/a>. That’s not as bad as San Francisco, but San Jose rents are still steep, and nearly 50 percent higher than they were five years ago.\u003c/p>\n\u003cp>Even for those who can afford to pay the rent, the pull to leave for cheaper living is hard to resist — especially if you’re an artist whose partner makes the bulk of the household income.\u003c/p>\n\u003cfigure id=\"attachment_12042714\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042714 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg\" alt=\"These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the time since she left for Folsom, Atreya says she knows of five other artists who left their hearts in San Jose. This number includes a musician who like her also moved to Sacramento County, a painter who moved in El Dorado County, and three people who left for Oregon. “We know the market has changed drastically,” acknowledges Kerry Adams-Hapner, San Jose’s director of cultural affairs.\u003c/p>\n\u003cp>Adams-Hapner says the city of San Jose is \u003ca href=\"http://www.sanjoseculture.org/DocumentCenter/View/30592\" target=\"_blank\" rel=\"noopener\">surveying its artists\u003c/a> for the second time in eight years to get a current handle on their housing and work space issues. Real estate costs are dramatically higher now. But even five years ago, 47 percent of the 700 artists canvassed in the survey found San Jose area housing unaffordable; two-thirds reported spending more than 30 percent of their income on mortgage or rent.\u003c/p>\n\u003cp>“People need a space to live, fundamentally,” Adams Hapner says. “Also, people need a space to present their work. They need a space to rehearse. And they need spaces also to connect with each other and network.”\u003c/p>\n\u003cfigure id=\"attachment_12042717\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042717 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg\" alt=\"Many Silicon Valley artists, including Steve Borelli of Campbell, don't even begin to pay the rent with their art. But that's not a reason to give up the practice, or the community.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many Silicon Valley artists, including Steve Borelli of Campbell, don’t even begin to pay the rent with their art. But that’s not a reason to give up the practice, or the community. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Folsom, Atreya is gradually building a new network of friends and professional contacts. But she still feels an emotional pull towards her old home. “All my art family’s there, mostly,” Atreya says. “So, my heart’s still here in San Jose.”\u003c/p>\n\u003cp>Atreya still regularly drives three hours southwest to reconnect with her friends in San Jose. She’s still a member of the \u003ca href=\"https://www.facebook.com/SanJoseArtSalon/\" target=\"_blank\" rel=\"noopener\">San Jose Art Salon\u003c/a>, a group of creatives who meet regularly for collective inspiration. And every month, she returns to \u003ca href=\"https://www.facebook.com/Arte.nella.Piazza/?fref=ts\">Arte nella Piazza\u003c/a>, an art bazaar in San Jose’s Little Italy neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Those that stayed behind\u003c/strong>\u003c/p>\n\u003cp>This exodus of artists is depressing for those left behind in the South Bay, too – even if they’re not about to get priced out. At the art fair, Steve Borelli has his own table set up near Atreya’s with his abstract drawings available for sale.\u003c/p>\n\u003cp>“Every passing day, I feel I’m luckier,” Borelli says. Borelli bought a house years ago in Campbell, near San Jose. Borelli pays the mortgage with his salary as a graphic designer. But his true love is drawing – and his connection to the local artists’ community.\u003c/p>\n\u003cp>“I fear for the future,” Borelli says. “You know, if it keeps going the way that it is, eventually you’re going to see a mass migration out, and I just hope it never comes to that.”\u003c/p>\n\u003cfigure id=\"attachment_12042718\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042718 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg\" alt=\"Mia the cat gets interviewed at Erica Atreya's Folsom home.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mia the cat gets interviewed at Erica Atreya’s Folsom home. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exodus is a function of the economy, says Matthew Mahood, president and CEO of the \u003ca href=\"https://www.sjchamber.com/\" target=\"_blank\" rel=\"noopener\">San Jose Silicon Valley Chamber of Commerce\u003c/a>.\u003c/p>\n\u003cp>The loss of school teachers and firefighters might seem to be a more pressing concern for San Jose than the flight of artists. But Mahood says quality of life is equally essential for the region to thrive going forward. “In order to attract and keep a quality workforce, you have to have arts and entertainment,” Mahood says. “Those things where people want to call this home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"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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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "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",
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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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},
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"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"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": {
"site": "news",
"source": "npr"
},
"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": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"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/",
"meta": {
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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