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"content": "\u003cp>Rod Temperton, a British-born musician and songwriter with a singular knack for pop-funk who wrote the Michael Jackson classics “Thriller,” “Rock With You” and many other hits, has died of cancer in London at 66.\u003c/p>\n\u003cp>His music publisher said in a statement Wednesday that Temperton had died last week of an “aggressive” cancer. No other details were provided.\u003c/p>\n\u003cp>Jon Platt of Warner/Chappell said Temperton was the sole writer of “Thriller,” “Off the Wall,” “Rock with You” and other major songs.\u003c/p>\n\u003cp>Temperton started his career in the disco band Heatwave and collaborated with Aretha Franklin, Herbie Hancock, Anita Baker and many others.\u003c/p>\n\u003cp>He was best known as a songwriter and worked closely with producer Quincy Jones on groundbreaking tracks for Jackson’s mega-selling “Off the Wall” and “Thriller” albums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5X-Mrc2l1d0\u003c/p>\n\u003cp>Platt said Temperton was sometimes known as “the invisible man” for his behind-the-scenes role.\u003c/p>\n\u003cp>Temperton was a native of the seaside town of Cleethorpes, 180 miles (290 kilometers) north of London. He had been working in a frozen fish factory in the mid-1970s when he responded to an ad and joined Heatwave, an international group for whom he played keyboards and wrote two major hits, the disco favorite “Boogie Nights” and the ballad “Always and Forever.”\u003c/p>\n\u003cp>“Always and Forever” attracted wide attention and was later covered by Luther Vandross, among others.\u003c/p>\n\u003cp>His work with Heatwave attracted the attention of Jones, who was then working with Jackson.\u003c/p>\n\u003cp>Temperton revealed a gift for both fast and slow numbers, whether the easygoing “Rock with You” or the sci-fi funk of the title track from “Thriller.”\u003c/p>\n\u003cp>In a 2009 interview with The Telegraph, Temperton said “Thriller” was originally called “Starlight” until Jones asked him to find a new title.\u003c/p>\n\u003cp>“I went back to the hotel, wrote two or three hundred titles and came up with ‘Midnight Man,'” he recalled. “The next morning I woke up and I just said this word (thriller). Something in my head just said, ‘This is the title’. “You could visualize it at the top of the Billboard charts. You could see the merchandising for this one word, how it jumped off the page as ‘Thriller”’.\u003c/p>\n\u003cp>His success went beyond the worldwide smash that “Thriller” became. Numerous other artists would have hits with his work, including George Benson with “Give Me the Night” and Donna Summer with “Love Is in Control (finger on the Trigger).”\u003c/p>\n\u003cp>Temperton also received an Oscar nomination as a co-writer of “Miss Celie’s Blues (Sister),” from the soundtrack of \u003cem>The Color Purple\u003c/em>, and contributed several songs to the Billy Crystal-Gregory Hines comedy \u003cem>Running Scared\u003c/em>.\u003c/p>\n\u003cp>In 2009, The Guardian newspaper described Temperton as a “reclusive, Grammy-winning genius who has always shunned the spotlight.” The newspaper said he was rarely seen in public and rarely photographed.\u003c/p>\n\u003cp>Templeton once told BBC radio he had been lulled to sleep as a baby by the sound of music on a transistor radio placed in his crib.\u003c/p>\n\u003cp>Platt said Temperton’s family is “devastated” and has held a private funeral. He said they are requesting privacy at “the saddest of sad times.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"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/5X-Mrc2l1d0'\n title='//www.youtube.com/embed/5X-Mrc2l1d0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Platt said Temperton was sometimes known as “the invisible man” for his behind-the-scenes role.\u003c/p>\n\u003cp>Temperton was a native of the seaside town of Cleethorpes, 180 miles (290 kilometers) north of London. He had been working in a frozen fish factory in the mid-1970s when he responded to an ad and joined Heatwave, an international group for whom he played keyboards and wrote two major hits, the disco favorite “Boogie Nights” and the ballad “Always and Forever.”\u003c/p>\n\u003cp>“Always and Forever” attracted wide attention and was later covered by Luther Vandross, among others.\u003c/p>\n\u003cp>His work with Heatwave attracted the attention of Jones, who was then working with Jackson.\u003c/p>\n\u003cp>Temperton revealed a gift for both fast and slow numbers, whether the easygoing “Rock with You” or the sci-fi funk of the title track from “Thriller.”\u003c/p>\n\u003cp>In a 2009 interview with The Telegraph, Temperton said “Thriller” was originally called “Starlight” until Jones asked him to find a new title.\u003c/p>\n\u003cp>“I went back to the hotel, wrote two or three hundred titles and came up with ‘Midnight Man,'” he recalled. “The next morning I woke up and I just said this word (thriller). Something in my head just said, ‘This is the title’. “You could visualize it at the top of the Billboard charts. You could see the merchandising for this one word, how it jumped off the page as ‘Thriller”’.\u003c/p>\n\u003cp>His success went beyond the worldwide smash that “Thriller” became. Numerous other artists would have hits with his work, including George Benson with “Give Me the Night” and Donna Summer with “Love Is in Control (finger on the Trigger).”\u003c/p>\n\u003cp>Temperton also received an Oscar nomination as a co-writer of “Miss Celie’s Blues (Sister),” from the soundtrack of \u003cem>The Color Purple\u003c/em>, and contributed several songs to the Billy Crystal-Gregory Hines comedy \u003cem>Running Scared\u003c/em>.\u003c/p>\n\u003cp>In 2009, The Guardian newspaper described Temperton as a “reclusive, Grammy-winning genius who has always shunned the spotlight.” The newspaper said he was rarely seen in public and rarely photographed.\u003c/p>\n\u003cp>Templeton once told BBC radio he had been lulled to sleep as a baby by the sound of music on a transistor radio placed in his crib.\u003c/p>\n\u003cp>Platt said Temperton’s family is “devastated” and has held a private funeral. He said they are requesting privacy at “the saddest of sad times.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Final Opportunity to See Documentary on Cannabis-Selling Nuns",
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"content": "\u003cp>Lyntoria Newton was in Atlanta last year, visiting her family for the holidays, when a news story about a pair of nuns came on TV. It profiled the Merced-based \u003ca href=\"https://www.sistersofcbd.com/\" target=\"_blank\" rel=\"noopener\">Sisters of the Valley\u003c/a> — Christine “Kate” Meeusen and her apprentice Darcy Johnson — not for their religious servitude or generosity during the Christmas season, but their business: cannabis. \u003c/p>\n\u003cp>And yet the Sisters aren’t really nuns; they may wear the uniforms, and they’ve taken vows of obedience and chastity, but they are not married to God. Meeusen and Darcy came together in 2015 to launch an Etsy business, where they sell thousands of dollars worth of salves, tinctures, and something called “clary sage spray” every day. The handmade products utilize hemp extract and CBD, the non-psychoactive forms of cannabis that ease pain without getting the user high.\u003c/p>\n\u003cfigure id=\"attachment_12154905\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg\" alt=\"Darcy Johnson \" width=\"793\" height=\"600\" class=\"size-medium wp-image-12154905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think when you see two women who wear nuns’ habits and you realize they aren’t working at the Catholic Church, you can easily write them off as kooks,” says Newton, who is one of the directors of \u003cem>Bad Habits\u003c/em>, a short documentary about the Sisters. “At the end of the day, they are doing a lot for people.” \u003c/p>\n\u003cp>But now, due to concerns from the Sisters about their portrayal in the film, \u003cem>Bad Habits\u003c/em> is seeing its final public screening this month.\u003c/p>\n\u003ch3>How religion plays a role\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> is a product of the documentary program at Stanford, where Newton is currently in her second year. When she brought the idea up at a class roundtable, it attracted the attention of fellow student Priscilla Gonzalez Sainz. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was immediately interested in what the habit meant and how religion played a role in the business that they were doing,” Gonzalez Sainz says. Being two female filmmakers, both Newton and Gonzalez Sainz embraced the opportunity to make a film about two successful women in business. \u003c/p>\n\u003cp>Meeusen and Darcy had already made national headlines, especially after the \u003ca href=\"http://www.mercedsunstar.com/news/local/article53064240.html\" target=\"_blank\" rel=\"noopener\">Merced City Council banned marijuana cultivation\u003c/a> in the city. (Newton wasn’t aware of the controversy when she saw the two women on TV.) So the directors decided to take an objective, observational approach to the production, which captured the Sisters’ professional and personal lives. \u003c/p>\n\u003cfigure id=\"attachment_12155112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg\" alt=\"'Bad Habits' directors Lyntoria Newton and Priscilla Gonzalez Sainz\" width=\"800\" height=\"403\" class=\"size-medium wp-image-12155112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-1180x595.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-960x484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors.jpg 1872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bad Habits’ directors Lyntoria Newton and Priscilla Gonzalez Sainz \u003ccite>(Photo: Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The purpose was to let them tell their own story, to let the viewer make their own decision about how they felt about them and what they were doing,” Gonzalez Sainz says. \u003c/p>\n\u003cp>Over the course of an eight-day shoot, the Sisters let the directors into the more intimate moments of their daily routines: their moon ceremony, relaxing in front of the television, and sitting around without their habits. \u003c/p>\n\u003cp>“I definitely expected them to be a bit quirky, honestly,” Newton says, but that wasn’t the case in reality. “Sister Kate did end up telling us that she did have a Catholic upbringing, and that was a large part of the reason for her wearing the habit.” \u003c/p>\n\u003ch3>Clash of the tunics\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> was completed in March and premiered at Stanford as part of a student screening, which the Sisters attended. Afterward, they were mobbed by newfound fans and even sold a few products. Newton and Gonzalez Sainz started submitting the nine-minute short to film festivals, but when the nuns learned \u003cem>Bad Habits\u003c/em> was accepted into this year’s San Francisco DocFest, they didn’t respond well to the good news. Instead, they called in their media relations representative. \u003c/p>\n\u003cp>“They were saying that it wasn’t made clear to them that we could show that film wherever we wanted,” Gonzalez Sainz says. “They were not happy with that.”\u003c/p>\n\u003cfigure id=\"attachment_12154908\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg\" alt=\"Christine “Kate” Meeusen and Darcy Johnson\" width=\"610\" height=\"600\" class=\"size-medium wp-image-12154908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-1180x1160.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-960x944.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-64x64.jpg 64w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Christine “Kate” Meeusen and Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they weren’t happy with how they were portrayed either. “They didn’t really like the sequences that we showed with them without habits,” Newton says. To be fair, that was a desire the Sisters made clear during pre-production — they didn’t want to be seen on screen without them. However, as filming went on and the nuns became more comfortable with Newton and Gonzalez Sainz, the directors say the Sisters eventually relented. The same was true for the moon ceremony, which initially the sisters wanted to keep private. \u003c/p>\n\u003cp>Prior to production, the Sisters signed appearance releases that give the filmmakers the complete rights to \u003cem>Bad Habits\u003c/em>. Meeusen and Johnson now claim they signed their releases under duress, according to Newton and Gonzalez Sainz. (KQED reached out to the Sisters, who replied “No Comment.”) This resulted in a lot of back and forth between the filmmakers, the Sisters, lawyers on both sides, and even the university. Gonzalez Sainz says the Sisters threatened to pull the short from DocFest, but they were eventually able to negotiate a settlement, and the film stayed in the program. \u003c/p>\n\u003cp>The nuns’ lawyers also agreed to two screenings at the Mill Valley Film Festival, which starts this week. But they will be \u003cem>Bad Habit\u003c/em>’s last. \u003c/p>\n\u003ch3>‘We have the right to win’\u003c/h3>\n\u003cp>“Although I don’t believe they have the legal right to stop us from showing the film, we are ceding to that because we don’t want to have further problems with them,” Gonzalez Sainz says. “We’re students. We’re working on our thesis films now. We have a lot going on in our own lives that we’re not going to keep fighting with them — even if it’s a fight that we know we have the right to win.” \u003c/p>\n\u003cfigure id=\"attachment_12154906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg\" alt=\"Sisters of the Valley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12154906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sisters of the Valley \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first MVFF screening is part of “\u003ca href=\"http://www.mvff.com/smoke-screens/\" target=\"_blank\" rel=\"noopener\">Smoke Screens\u003c/a>,” a full day of cannabis-themed programming on Oct. 8. There will also be a showing on Oct. 13 as part of a block of short pot films. But the directors hope \u003cem>Bad Habits\u003c/em> will have a wide appeal among its final public audience.\u003c/p>\n\u003cp>“We were not aiming to make a film for the cannabis community,” Gonzalez Sainz says. “We really wanted to make a film as an observational piece, as a character study, and we wanted to focus on these two women and their business and how their business helps people.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Bad Habits’ screens Oct. 8 and Oct. 13 at the Mill Valley Film Festival. \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=240079~b5ffc240-184b-4172-a0fd-0f56eabee2d5&epguid=c6b17b06-9289-4456-9ea8-48c16255c85d&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The film's subjects aren't happy with how they're portrayed in the documentary 'Bad Habits,' and the Mill Valley Film Festival is the public's last chance to see it. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lyntoria Newton was in Atlanta last year, visiting her family for the holidays, when a news story about a pair of nuns came on TV. It profiled the Merced-based \u003ca href=\"https://www.sistersofcbd.com/\" target=\"_blank\" rel=\"noopener\">Sisters of the Valley\u003c/a> — Christine “Kate” Meeusen and her apprentice Darcy Johnson — not for their religious servitude or generosity during the Christmas season, but their business: cannabis. \u003c/p>\n\u003cp>And yet the Sisters aren’t really nuns; they may wear the uniforms, and they’ve taken vows of obedience and chastity, but they are not married to God. Meeusen and Darcy came together in 2015 to launch an Etsy business, where they sell thousands of dollars worth of salves, tinctures, and something called “clary sage spray” every day. The handmade products utilize hemp extract and CBD, the non-psychoactive forms of cannabis that ease pain without getting the user high.\u003c/p>\n\u003cfigure id=\"attachment_12154905\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg\" alt=\"Darcy Johnson \" width=\"793\" height=\"600\" class=\"size-medium wp-image-12154905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think when you see two women who wear nuns’ habits and you realize they aren’t working at the Catholic Church, you can easily write them off as kooks,” says Newton, who is one of the directors of \u003cem>Bad Habits\u003c/em>, a short documentary about the Sisters. “At the end of the day, they are doing a lot for people.” \u003c/p>\n\u003cp>But now, due to concerns from the Sisters about their portrayal in the film, \u003cem>Bad Habits\u003c/em> is seeing its final public screening this month.\u003c/p>\n\u003ch3>How religion plays a role\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> is a product of the documentary program at Stanford, where Newton is currently in her second year. When she brought the idea up at a class roundtable, it attracted the attention of fellow student Priscilla Gonzalez Sainz. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was immediately interested in what the habit meant and how religion played a role in the business that they were doing,” Gonzalez Sainz says. Being two female filmmakers, both Newton and Gonzalez Sainz embraced the opportunity to make a film about two successful women in business. \u003c/p>\n\u003cp>Meeusen and Darcy had already made national headlines, especially after the \u003ca href=\"http://www.mercedsunstar.com/news/local/article53064240.html\" target=\"_blank\" rel=\"noopener\">Merced City Council banned marijuana cultivation\u003c/a> in the city. (Newton wasn’t aware of the controversy when she saw the two women on TV.) So the directors decided to take an objective, observational approach to the production, which captured the Sisters’ professional and personal lives. \u003c/p>\n\u003cfigure id=\"attachment_12155112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg\" alt=\"'Bad Habits' directors Lyntoria Newton and Priscilla Gonzalez Sainz\" width=\"800\" height=\"403\" class=\"size-medium wp-image-12155112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-1180x595.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-960x484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors.jpg 1872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bad Habits’ directors Lyntoria Newton and Priscilla Gonzalez Sainz \u003ccite>(Photo: Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The purpose was to let them tell their own story, to let the viewer make their own decision about how they felt about them and what they were doing,” Gonzalez Sainz says. \u003c/p>\n\u003cp>Over the course of an eight-day shoot, the Sisters let the directors into the more intimate moments of their daily routines: their moon ceremony, relaxing in front of the television, and sitting around without their habits. \u003c/p>\n\u003cp>“I definitely expected them to be a bit quirky, honestly,” Newton says, but that wasn’t the case in reality. “Sister Kate did end up telling us that she did have a Catholic upbringing, and that was a large part of the reason for her wearing the habit.” \u003c/p>\n\u003ch3>Clash of the tunics\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> was completed in March and premiered at Stanford as part of a student screening, which the Sisters attended. Afterward, they were mobbed by newfound fans and even sold a few products. Newton and Gonzalez Sainz started submitting the nine-minute short to film festivals, but when the nuns learned \u003cem>Bad Habits\u003c/em> was accepted into this year’s San Francisco DocFest, they didn’t respond well to the good news. Instead, they called in their media relations representative. \u003c/p>\n\u003cp>“They were saying that it wasn’t made clear to them that we could show that film wherever we wanted,” Gonzalez Sainz says. “They were not happy with that.”\u003c/p>\n\u003cfigure id=\"attachment_12154908\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg\" alt=\"Christine “Kate” Meeusen and Darcy Johnson\" width=\"610\" height=\"600\" class=\"size-medium wp-image-12154908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-1180x1160.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-960x944.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-64x64.jpg 64w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Christine “Kate” Meeusen and Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they weren’t happy with how they were portrayed either. “They didn’t really like the sequences that we showed with them without habits,” Newton says. To be fair, that was a desire the Sisters made clear during pre-production — they didn’t want to be seen on screen without them. However, as filming went on and the nuns became more comfortable with Newton and Gonzalez Sainz, the directors say the Sisters eventually relented. The same was true for the moon ceremony, which initially the sisters wanted to keep private. \u003c/p>\n\u003cp>Prior to production, the Sisters signed appearance releases that give the filmmakers the complete rights to \u003cem>Bad Habits\u003c/em>. Meeusen and Johnson now claim they signed their releases under duress, according to Newton and Gonzalez Sainz. (KQED reached out to the Sisters, who replied “No Comment.”) This resulted in a lot of back and forth between the filmmakers, the Sisters, lawyers on both sides, and even the university. Gonzalez Sainz says the Sisters threatened to pull the short from DocFest, but they were eventually able to negotiate a settlement, and the film stayed in the program. \u003c/p>\n\u003cp>The nuns’ lawyers also agreed to two screenings at the Mill Valley Film Festival, which starts this week. But they will be \u003cem>Bad Habit\u003c/em>’s last. \u003c/p>\n\u003ch3>‘We have the right to win’\u003c/h3>\n\u003cp>“Although I don’t believe they have the legal right to stop us from showing the film, we are ceding to that because we don’t want to have further problems with them,” Gonzalez Sainz says. “We’re students. We’re working on our thesis films now. We have a lot going on in our own lives that we’re not going to keep fighting with them — even if it’s a fight that we know we have the right to win.” \u003c/p>\n\u003cfigure id=\"attachment_12154906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg\" alt=\"Sisters of the Valley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12154906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sisters of the Valley \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first MVFF screening is part of “\u003ca href=\"http://www.mvff.com/smoke-screens/\" target=\"_blank\" rel=\"noopener\">Smoke Screens\u003c/a>,” a full day of cannabis-themed programming on Oct. 8. There will also be a showing on Oct. 13 as part of a block of short pot films. But the directors hope \u003cem>Bad Habits\u003c/em> will have a wide appeal among its final public audience.\u003c/p>\n\u003cp>“We were not aiming to make a film for the cannabis community,” Gonzalez Sainz says. “We really wanted to make a film as an observational piece, as a character study, and we wanted to focus on these two women and their business and how their business helps people.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bad Habits’ screens Oct. 8 and Oct. 13 at the Mill Valley Film Festival. \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=240079~b5ffc240-184b-4172-a0fd-0f56eabee2d5&epguid=c6b17b06-9289-4456-9ea8-48c16255c85d&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gloria Naylor, whose debut novel \u003cem>The Women of Brewster Place\u003c/em>, became a best-seller, a National Book Award winner and a TV miniseries released through Oprah Winfrey’s production company, has died at the age of 66.\u003c/p>\n\u003cp>Naylor’s death was confirmed Monday to The Associated Press by Cara Reilly, an assistant at the literary agency Sterling Lord Literistic. Reilly provided no other details about Naylor’s death. Fellow authors soon paid tribute on Twitter, with Terry McMillan urging her followers to “read everything Gloria Naylor has ever written” and Tayari Jones thanking her for choosing her for a literary award in 2000 and helping to launch her career.\u003c/p>\n\u003cp>Naylor’s other books included \u003cem>Linden Hills\u003c/em>, \u003cem>Mama Day\u003c/em> and \u003cem>Bailey’s Cafe\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Women of Brewster Place\u003c/em> is Naylor’s self-described “love letter” to a determined community of seven African-American women in a decaying housing project, the exact location unspecified. It was published in 1982 and praised by \u003cem>The New York Times\u003c/em> as “emotionally satisfying and technically accomplished,” with Brewster Place itself the narrative’s star. “Brewster Place” won the National Book Award for best first fiction and was often likened to novels by Toni Morrison and Alice Walker among others as landmark books by black women.\u003c/p>\n\u003cp>Naylor, who grew up in New York City, would credit her mother for making “Brewster Place” possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Realizing that I was a painfully shy child, she gave me my first diary and told me to write my feelings down in there,” Naylor said in her National Book Award acceptance speech. “Over the years that diary was followed by reams and reams of paper that eventually culminated into \u003cem>The Women of Brewster Place\u003c/em>. And I wrote that book as a tribute to her and other black woman who, in spite of the very limited personal circumstances, somehow manage to hold a fierce belief in the limitless possibilities of the human spirit.”\u003c/p>\n\u003cp>Winfrey was among the novel’s many fans and the miniseries came out in 1989, with a cast including Winfrey, Cicely Tyson and Robin Givens. \u003cem>The Women of Brewster of Place\u003c/em> was also adapted into a musical, and Naylor revisited the setting in her 1998 novel \u003cem>The Men of Brewster Place\u003c/em>.\u003c/p>\n\u003cp>Naylor was an undergraduate at Brooklyn College and received a master’s from Yale University in African American studies, a degree earned around the time \u003cem>The Women of Brewster Place\u003c/em> was published. By the late 1970s, she had published stories in Essence magazine that would later become part of “Brewster Place.”\u003c/p>\n\u003cp>In college, she had vowed to write at least four novels, and at least one that would outlast her. Her fiction often centered on a common meeting place, like the diner in \u003cem>Bailey’s Cafe\u003c/em>, and her characters tended to be dreamers whose fantasies reflected Naylor’s early love for fairy tales.\u003c/p>\n\u003cp>“It runs throughout my work, the theme of dreaming,” she told \u003cem>The Associated Press\u003c/em> in 1992. “I ask myself why it always seems important. I am a daydreamer and I once was an avid daydreamer. I would dream in serials, the daydreams would start where the others left off.”\u003c/p>\n\u003cp>“I was still reading (fairy tales) … at age 16. You wanted Prince Charming and I looked too long. At some point, an adult woman has to wake up and smell the coffee.”\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>Gloria Naylor, whose debut novel \u003cem>The Women of Brewster Place\u003c/em>, became a best-seller, a National Book Award winner and a TV miniseries released through Oprah Winfrey’s production company, has died at the age of 66.\u003c/p>\n\u003cp>Naylor’s death was confirmed Monday to The Associated Press by Cara Reilly, an assistant at the literary agency Sterling Lord Literistic. Reilly provided no other details about Naylor’s death. Fellow authors soon paid tribute on Twitter, with Terry McMillan urging her followers to “read everything Gloria Naylor has ever written” and Tayari Jones thanking her for choosing her for a literary award in 2000 and helping to launch her career.\u003c/p>\n\u003cp>Naylor’s other books included \u003cem>Linden Hills\u003c/em>, \u003cem>Mama Day\u003c/em> and \u003cem>Bailey’s Cafe\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Women of Brewster Place\u003c/em> is Naylor’s self-described “love letter” to a determined community of seven African-American women in a decaying housing project, the exact location unspecified. It was published in 1982 and praised by \u003cem>The New York Times\u003c/em> as “emotionally satisfying and technically accomplished,” with Brewster Place itself the narrative’s star. “Brewster Place” won the National Book Award for best first fiction and was often likened to novels by Toni Morrison and Alice Walker among others as landmark books by black women.\u003c/p>\n\u003cp>Naylor, who grew up in New York City, would credit her mother for making “Brewster Place” possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Realizing that I was a painfully shy child, she gave me my first diary and told me to write my feelings down in there,” Naylor said in her National Book Award acceptance speech. “Over the years that diary was followed by reams and reams of paper that eventually culminated into \u003cem>The Women of Brewster Place\u003c/em>. And I wrote that book as a tribute to her and other black woman who, in spite of the very limited personal circumstances, somehow manage to hold a fierce belief in the limitless possibilities of the human spirit.”\u003c/p>\n\u003cp>Winfrey was among the novel’s many fans and the miniseries came out in 1989, with a cast including Winfrey, Cicely Tyson and Robin Givens. \u003cem>The Women of Brewster of Place\u003c/em> was also adapted into a musical, and Naylor revisited the setting in her 1998 novel \u003cem>The Men of Brewster Place\u003c/em>.\u003c/p>\n\u003cp>Naylor was an undergraduate at Brooklyn College and received a master’s from Yale University in African American studies, a degree earned around the time \u003cem>The Women of Brewster Place\u003c/em> was published. By the late 1970s, she had published stories in Essence magazine that would later become part of “Brewster Place.”\u003c/p>\n\u003cp>In college, she had vowed to write at least four novels, and at least one that would outlast her. Her fiction often centered on a common meeting place, like the diner in \u003cem>Bailey’s Cafe\u003c/em>, and her characters tended to be dreamers whose fantasies reflected Naylor’s early love for fairy tales.\u003c/p>\n\u003cp>“It runs throughout my work, the theme of dreaming,” she told \u003cem>The Associated Press\u003c/em> in 1992. “I ask myself why it always seems important. I am a daydreamer and I once was an avid daydreamer. I would dream in serials, the daydreams would start where the others left off.”\u003c/p>\n\u003cp>“I was still reading (fairy tales) … at age 16. You wanted Prince Charming and I looked too long. At some point, an adult woman has to wake up and smell the coffee.”\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": "beyond-the-physical-body-with-dancer-gerald-casel",
"title": "Beyond the Physical Body with Dancer Gerald Casel",
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"headTitle": "Beyond the Physical Body with Dancer Gerald Casel | KQED",
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"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This video is a co-production between KQED and Yerba Buena Center for the Arts.\u003c/span>\u003c/i>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For dancer and queer immigrant Gerald Casel, the body is a recording device — one that asks: Can we design freedom? And if so, what do we do with it?\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.geraldcasel.com/\">Gerald Casel\u003c/a> is a queer immigrant artist-activist and educator who creates and presents dances that ask questions about human beings — who they are, what they do and how their actions affect the world in which they live. He experiences the body as a recording device that documents feelings, emotions and states from an entire lifetime of experiences. He is deeply curious about how habituation, oppression and identity play out in movement, dance and the human form.\u003c/p>\n\u003cp>Gerald was born in Manila and raised in Oakland and San Jose. During high school he devoured music videos and movies, looking to learn more about movement and dance, and went on to graduate from the Juilliard School. He now teaches at national dance festivals like the American Dance Festival and Mountain Dance Fest, and continues his work with the next generation of Bay Area dancers as an \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz.\u003c/p>\n\u003cp>\u003cstrong>What is your idea of freedom?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n",
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"title": "Beyond the Physical Body with Dancer Gerald Casel | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This video is a co-production between KQED and Yerba Buena Center for the Arts.\u003c/span>\u003c/i>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For dancer and queer immigrant Gerald Casel, the body is a recording device — one that asks: Can we design freedom? And if so, what do we do with it?\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.geraldcasel.com/\">Gerald Casel\u003c/a> is a queer immigrant artist-activist and educator who creates and presents dances that ask questions about human beings — who they are, what they do and how their actions affect the world in which they live. He experiences the body as a recording device that documents feelings, emotions and states from an entire lifetime of experiences. He is deeply curious about how habituation, oppression and identity play out in movement, dance and the human form.\u003c/p>\n\u003cp>Gerald was born in Manila and raised in Oakland and San Jose. During high school he devoured music videos and movies, looking to learn more about movement and dance, and went on to graduate from the Juilliard School. He now teaches at national dance festivals like the American Dance Festival and Mountain Dance Fest, and continues his work with the next generation of Bay Area dancers as an \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz.\u003c/p>\n\u003cp>\u003cstrong>What is your idea of freedom?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since sitting in on Jeff Chang’s \u003ca href=\"https://ccsre.stanford.edu/newsletter-art/innovative-course-explores-art-occupy-movement\">Occupy Art class\u003c/a> at Stanford in 2012, I’ve been a fan of his essays on the intersection of \u003ca href=\"https://www.amazon.com/dp/B007MB66WG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">contemporary art and hip-hop\u003c/a>, and his 416-page book, \u003ca href=\"https://www.amazon.com/Who-We-Be-Cultural-Post-Civil/dp/0312571291\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/forum/2014/12/01/cultural-critic-jeff-changs-new-book-about-race/\" target=\"_blank\" rel=\"noopener\">Who We Be: The Colorization of America\u003c/a>, which accompanied me on an international trip.\u003c/p>\n\u003cp>Yet in Chang’s most recent collection of essays, \u003ca href=\"https://books.google.com/books/about/We_Gon_Be_Alright.html?id=JkIkjwEACAAJ\">We Gon’ Be Alright\u003c/a>, what I appreciate most is that his writing seems more personal. He lets his readers in on what’s happening beyond the heady and occasionally stuffy academic world, and into what’s going on in the heart. A modern-day \u003cem>Chicken Soup for the Burned Out-Yet-Still-Hopeful Activist Soul\u003c/em>, if you will. \u003c/p>\n\u003cfigure id=\"attachment_12151213\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151213 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg\" alt=\"Author Jeff Chang is also director of Stanford's Institute for Diversity in the Arts.\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1180x1176.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1920x1913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2.jpg 2007w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Author Jeff Chang is also director of Stanford’s Institute for Diversity in the Arts. \u003ccite>(Jeremy Keith Villaluz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to \u003cem>Who We Be\u003c/em>, which details the cultural history of the idea of race in the United States, Chang’s latest book of six essays is much smaller in weight and volume — but the content is still powerful.\u003c/p>\n\u003cp>His first two essays, “Is Diversity for White People? On Fearmongering, Picture Taking, and Avoidance” and “What a Time to Be Alive: On Student Protest” both focus on students and educational institutions. The former concerns the all-too-familiar account of a college trying too hard to show its diversity in promotional materials. In 2000, the University of Wisconsin \u003ca href=\"http://www.npr.org/2013/12/29/257765543/a-campus-more-colorful-than-reality-beware-that-college-brochure\" target=\"_blank\" rel=\"noopener\">went viral for all the wrong reasons\u003c/a> by photoshopping Diallo Shabazz, a black student, into the cover of its admission booklet, prompting Chang to question — who is diversity for? The essay prompts a re-thinking of the very word “diversity,” and asks, “What would a diversity that liberated everyone look like?”\u003c/p>\n\u003cp>Another essay, “Vanilla Cities and Their Chocolate Suburbs: On Resegregation,” discusses the current climate of resegregation; in particular regarding education. Full of sentences that could serve as topics for future books, the essay is driven by statistics. The average white student attends a school that is 75 percent white, Chang writes. He also notes that in 2014, more than 300 school districts across the country were still involved in active desegregation orders dating to the civil rights era, and takes on changing city demographics as a result of evictions and gentrification in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12151214 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg\" alt=\"WGBA.Cover.hires\" width=\"295\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-768x1199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-756x1180.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-1180x1843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-960x1499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_.jpg 1825w\" sizes=\"(max-width: 295px) 100vw, 295px\">\u003c/p>\n\u003cp>“Hands Up: On Ferguson” takes the reader through the intense nights of the Ferguson protests, beginning before Michael Brown was shot and leading the reader through the protests that followed. The essay humanizes both Brown and the protesters, and provides a deeper look into the structural inequities of the city of Ferguson.\u003c/p>\n\u003cp>Finally, Chang’s last essay “The In-Betweens: On Asian Americanness” reads like a spoken-word piece. Written in second person, Chang, himself Asian American, addresses the reader intimately: “You wanted an identity that would not just be a weapon but a tool, something that would not just bludgeon but build, that would not only justify your pain — inherited and accumulated — but let you stay open to the world, let you connect and grow.” I found myself nodding in agreement, feeling as though he was speaking directly to me.\u003c/p>\n\u003cp>Though the essay topics in \u003cem>We Gon’ Be Alright\u003c/em> might be considered somewhat disjointed, they show the myriad ways identity, culture and race are involved in our everyday lives — from educational institutions to cultural icons.\u003c/p>\n\u003cp>\u003ci>\u003cstrong>BONUS VIDEO:\u003c/strong> KQED Newsroom’s Thuy Vu talks with Jeff Chang about his new book and race relations in America. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0JLW0d42Cyc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since sitting in on Jeff Chang’s \u003ca href=\"https://ccsre.stanford.edu/newsletter-art/innovative-course-explores-art-occupy-movement\">Occupy Art class\u003c/a> at Stanford in 2012, I’ve been a fan of his essays on the intersection of \u003ca href=\"https://www.amazon.com/dp/B007MB66WG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">contemporary art and hip-hop\u003c/a>, and his 416-page book, \u003ca href=\"https://www.amazon.com/Who-We-Be-Cultural-Post-Civil/dp/0312571291\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/forum/2014/12/01/cultural-critic-jeff-changs-new-book-about-race/\" target=\"_blank\" rel=\"noopener\">Who We Be: The Colorization of America\u003c/a>, which accompanied me on an international trip.\u003c/p>\n\u003cp>Yet in Chang’s most recent collection of essays, \u003ca href=\"https://books.google.com/books/about/We_Gon_Be_Alright.html?id=JkIkjwEACAAJ\">We Gon’ Be Alright\u003c/a>, what I appreciate most is that his writing seems more personal. He lets his readers in on what’s happening beyond the heady and occasionally stuffy academic world, and into what’s going on in the heart. A modern-day \u003cem>Chicken Soup for the Burned Out-Yet-Still-Hopeful Activist Soul\u003c/em>, if you will. \u003c/p>\n\u003cfigure id=\"attachment_12151213\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151213 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg\" alt=\"Author Jeff Chang is also director of Stanford's Institute for Diversity in the Arts.\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1180x1176.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1920x1913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2.jpg 2007w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Author Jeff Chang is also director of Stanford’s Institute for Diversity in the Arts. \u003ccite>(Jeremy Keith Villaluz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to \u003cem>Who We Be\u003c/em>, which details the cultural history of the idea of race in the United States, Chang’s latest book of six essays is much smaller in weight and volume — but the content is still powerful.\u003c/p>\n\u003cp>His first two essays, “Is Diversity for White People? On Fearmongering, Picture Taking, and Avoidance” and “What a Time to Be Alive: On Student Protest” both focus on students and educational institutions. The former concerns the all-too-familiar account of a college trying too hard to show its diversity in promotional materials. In 2000, the University of Wisconsin \u003ca href=\"http://www.npr.org/2013/12/29/257765543/a-campus-more-colorful-than-reality-beware-that-college-brochure\" target=\"_blank\" rel=\"noopener\">went viral for all the wrong reasons\u003c/a> by photoshopping Diallo Shabazz, a black student, into the cover of its admission booklet, prompting Chang to question — who is diversity for? The essay prompts a re-thinking of the very word “diversity,” and asks, “What would a diversity that liberated everyone look like?”\u003c/p>\n\u003cp>Another essay, “Vanilla Cities and Their Chocolate Suburbs: On Resegregation,” discusses the current climate of resegregation; in particular regarding education. Full of sentences that could serve as topics for future books, the essay is driven by statistics. The average white student attends a school that is 75 percent white, Chang writes. He also notes that in 2014, more than 300 school districts across the country were still involved in active desegregation orders dating to the civil rights era, and takes on changing city demographics as a result of evictions and gentrification in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12151214 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg\" alt=\"WGBA.Cover.hires\" width=\"295\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-768x1199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-756x1180.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-1180x1843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-960x1499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_.jpg 1825w\" sizes=\"(max-width: 295px) 100vw, 295px\">\u003c/p>\n\u003cp>“Hands Up: On Ferguson” takes the reader through the intense nights of the Ferguson protests, beginning before Michael Brown was shot and leading the reader through the protests that followed. The essay humanizes both Brown and the protesters, and provides a deeper look into the structural inequities of the city of Ferguson.\u003c/p>\n\u003cp>Finally, Chang’s last essay “The In-Betweens: On Asian Americanness” reads like a spoken-word piece. Written in second person, Chang, himself Asian American, addresses the reader intimately: “You wanted an identity that would not just be a weapon but a tool, something that would not just bludgeon but build, that would not only justify your pain — inherited and accumulated — but let you stay open to the world, let you connect and grow.” I found myself nodding in agreement, feeling as though he was speaking directly to me.\u003c/p>\n\u003cp>Though the essay topics in \u003cem>We Gon’ Be Alright\u003c/em> might be considered somewhat disjointed, they show the myriad ways identity, culture and race are involved in our everyday lives — from educational institutions to cultural icons.\u003c/p>\n\u003cp>\u003ci>\u003cstrong>BONUS VIDEO:\u003c/strong> KQED Newsroom’s Thuy Vu talks with Jeff Chang about his new book and race relations in America. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0JLW0d42Cyc'\n title='//www.youtube.com/embed/0JLW0d42Cyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>More than five months after Prince’s fatal drug overdose, investigators have narrowed their focus to two main questions: whether doctors illegally prescribed opioids meant for the pop star and whether the fentanyl that killed him came from a black-market source, a law enforcement official said.\u003c/p>\n\u003cp>Those lines of inquiry raise the prospect that a doctor or doctors could be charged with writing unlawful prescriptions and that a separate suspect or set of suspects with ties to narcotics trafficking could be charged with supplying the fatal dose.\u003c/p>\n\u003cp>Prince was 57 when he was found April 21 in an elevator at his suburban Minneapolis studio and estate. Authorities have revealed little publicly about their investigation, saying only that the probe is ongoing.\u003c/p>\n\u003cp>The law enforcement official who described the investigation has knowledge of the inquiry but spoke on condition of anonymity because the person was not authorized to comment on the record. The person declined to provide any additional details.\u003c/p>\n\u003cp>Investigations of fatal overdoses can be lengthy and complex, especially when drug traffickers or other underworld figures are involved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ryan Pacyga, a Minneapolis criminal defense attorney who is not connected to the Prince case, said law enforcement is not going to rush unless there is a risk to the public or immediate danger to others.\u003c/p>\n\u003cp>In typical drug cases, investigators will subpoena documents including computer files, emails and financial records. When looking at where the fentanyl came from, they will “follow the money” and look at orders, shipments and the bank accounts or credit cards that made payments, Pacyga said.\u003c/p>\n\u003cp>They will also identify people they want to speak with.\u003c/p>\n\u003cp>“They’ll interview from the bottom up,” Pacyga said. “They’ll talk to the people who really don’t have much criminal exposure and keep working their way up to who they think the big wrongdoers are.”\u003c/p>\n\u003cp>Notable drugs cases are often prosecuted in federal, not state, court.\u003c/p>\n\u003cp>Among the most serious federal charges a person who supplied the fentanyl could face — be it a doctor, trafficker or friend — is opioid distribution resulting in death, which carries a mandatory minimum of 20 years in prison. Under Minnesota law, anyone who gave Prince the fentanyl that killed him could face a potential third-degree murder charge, even if that person did not know the pills contained the drug.\u003c/p>\n\u003cp>Fentanyl, which is 50 times more potent than heroin, can be obtained as a legal painkiller with a prescription. But some findings in Prince’s case point to an illegal source, including evidence that some pills taken from his home after he died were counterfeit drugs that were marked as a generic version of Vicodin but actually contained fentanyl, an official close to the investigation told the AP in August. That official also spoke on condition of anonymity because of the ongoing investigation.\u003c/p>\n\u003cp>Even when it is produced legally by pharmaceutical manufacturers, fentanyl can be obtained illegally in many ways. A doctor can prescribe it to someone who then passes it on to a third person or prescriptions can be forged.\u003c/p>\n\u003cp>The official who spoke in August said Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>Prince had a reputation for clean living, and some friends said they never saw any sign of drug use. But longtime friend and collaborator Sheila E. has said Prince had hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>The death of one of the most influential musicians of the modern era has drawn public attention to a startling increase in fentanyl overdoses. Most of the deaths are linked not to prescriptions but to illicitly made fentanyl pills or fentanyl that has been mixed with and sold as heroin, according to the Centers for Disease Control and Prevention.\u003c/p>\n\u003cp>As little as 2 milligrams of fentanyl can be lethal and those who make it illicitly are not meticulous about how much fentanyl goes in each pill. Traffickers often pass the pills off as Oxycontin or some other name-brand opioid, so, if Prince took a counterfeit pill, he may not have known it contained fentanyl.\u003c/p>\n\u003cp>Determining whether the last person to hand or send the fentanyl to Prince knew it was fentanyl is probably one of the most difficult questions for investigators. Legal experts say evidence of such direct knowledge can be critical, but isn’t necessary, to bring charges.\u003c/p>\n\u003cp>Another possibility is that Prince ordered the drugs himself online. Some online distributors accept orders through dark-net sites, then deliver the drugs by unsuspecting mail-service companies.\u003c/p>\n\u003cp>If traffickers bear responsibility for the fatal fentanyl, identifying them could be difficult, even impossible.\u003c/p>\n\u003cp>The chain of traffickers could include Chinese producers of the raw ingredients of fentanyl and Mexican cartels that transform the drug into pills at clandestine labs. Pill mills also operate in the U.S., the DEA says.\u003c/p>\n\u003cp>Shortly after Prince’s death, authorities said they were looking at whether a doctor supplied him with drugs, similar to how Conrad Murray prescribed the anesthetic propofol to Michael Jackson, contributing to his 2009 death. Murray was charged seven months later, convicted by a California jury of involuntary manslaughter in 2011 and sentenced to four years behind bars. He was released after serving two.\u003c/p>\n\u003cp>Charges against a doctor for writing unnecessary prescriptions to feed someone’s drug habit can quickly stack up. They can include tax evasion if ill-gotten profits are not included on tax returns, as well as wire fraud if any aspect of the crime was conducted over the telephone.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than five months after Prince’s fatal drug overdose, investigators have narrowed their focus to two main questions: whether doctors illegally prescribed opioids meant for the pop star and whether the fentanyl that killed him came from a black-market source, a law enforcement official said.\u003c/p>\n\u003cp>Those lines of inquiry raise the prospect that a doctor or doctors could be charged with writing unlawful prescriptions and that a separate suspect or set of suspects with ties to narcotics trafficking could be charged with supplying the fatal dose.\u003c/p>\n\u003cp>Prince was 57 when he was found April 21 in an elevator at his suburban Minneapolis studio and estate. Authorities have revealed little publicly about their investigation, saying only that the probe is ongoing.\u003c/p>\n\u003cp>The law enforcement official who described the investigation has knowledge of the inquiry but spoke on condition of anonymity because the person was not authorized to comment on the record. The person declined to provide any additional details.\u003c/p>\n\u003cp>Investigations of fatal overdoses can be lengthy and complex, especially when drug traffickers or other underworld figures are involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ryan Pacyga, a Minneapolis criminal defense attorney who is not connected to the Prince case, said law enforcement is not going to rush unless there is a risk to the public or immediate danger to others.\u003c/p>\n\u003cp>In typical drug cases, investigators will subpoena documents including computer files, emails and financial records. When looking at where the fentanyl came from, they will “follow the money” and look at orders, shipments and the bank accounts or credit cards that made payments, Pacyga said.\u003c/p>\n\u003cp>They will also identify people they want to speak with.\u003c/p>\n\u003cp>“They’ll interview from the bottom up,” Pacyga said. “They’ll talk to the people who really don’t have much criminal exposure and keep working their way up to who they think the big wrongdoers are.”\u003c/p>\n\u003cp>Notable drugs cases are often prosecuted in federal, not state, court.\u003c/p>\n\u003cp>Among the most serious federal charges a person who supplied the fentanyl could face — be it a doctor, trafficker or friend — is opioid distribution resulting in death, which carries a mandatory minimum of 20 years in prison. Under Minnesota law, anyone who gave Prince the fentanyl that killed him could face a potential third-degree murder charge, even if that person did not know the pills contained the drug.\u003c/p>\n\u003cp>Fentanyl, which is 50 times more potent than heroin, can be obtained as a legal painkiller with a prescription. But some findings in Prince’s case point to an illegal source, including evidence that some pills taken from his home after he died were counterfeit drugs that were marked as a generic version of Vicodin but actually contained fentanyl, an official close to the investigation told the AP in August. That official also spoke on condition of anonymity because of the ongoing investigation.\u003c/p>\n\u003cp>Even when it is produced legally by pharmaceutical manufacturers, fentanyl can be obtained illegally in many ways. A doctor can prescribe it to someone who then passes it on to a third person or prescriptions can be forged.\u003c/p>\n\u003cp>The official who spoke in August said Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>Prince had a reputation for clean living, and some friends said they never saw any sign of drug use. But longtime friend and collaborator Sheila E. has said Prince had hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>The death of one of the most influential musicians of the modern era has drawn public attention to a startling increase in fentanyl overdoses. Most of the deaths are linked not to prescriptions but to illicitly made fentanyl pills or fentanyl that has been mixed with and sold as heroin, according to the Centers for Disease Control and Prevention.\u003c/p>\n\u003cp>As little as 2 milligrams of fentanyl can be lethal and those who make it illicitly are not meticulous about how much fentanyl goes in each pill. Traffickers often pass the pills off as Oxycontin or some other name-brand opioid, so, if Prince took a counterfeit pill, he may not have known it contained fentanyl.\u003c/p>\n\u003cp>Determining whether the last person to hand or send the fentanyl to Prince knew it was fentanyl is probably one of the most difficult questions for investigators. Legal experts say evidence of such direct knowledge can be critical, but isn’t necessary, to bring charges.\u003c/p>\n\u003cp>Another possibility is that Prince ordered the drugs himself online. Some online distributors accept orders through dark-net sites, then deliver the drugs by unsuspecting mail-service companies.\u003c/p>\n\u003cp>If traffickers bear responsibility for the fatal fentanyl, identifying them could be difficult, even impossible.\u003c/p>\n\u003cp>The chain of traffickers could include Chinese producers of the raw ingredients of fentanyl and Mexican cartels that transform the drug into pills at clandestine labs. Pill mills also operate in the U.S., the DEA says.\u003c/p>\n\u003cp>Shortly after Prince’s death, authorities said they were looking at whether a doctor supplied him with drugs, similar to how Conrad Murray prescribed the anesthetic propofol to Michael Jackson, contributing to his 2009 death. Murray was charged seven months later, convicted by a California jury of involuntary manslaughter in 2011 and sentenced to four years behind bars. He was released after serving two.\u003c/p>\n\u003cp>Charges against a doctor for writing unnecessary prescriptions to feed someone’s drug habit can quickly stack up. They can include tax evasion if ill-gotten profits are not included on tax returns, as well as wire fraud if any aspect of the crime was conducted over the telephone.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>October in the Bay Area signals many shifts: students head back to school; it’s the month we’re most likely to experience temperatures resembling “real” summer; a certain \u003ca href=\"http://www.mccoveychronicles.com/2016/10/2/13142036/sf-giants-clinch-recap\" target=\"_blank\" rel=\"noopener\">up-and-down baseball team\u003c/a> somehow worms its way into the postseason.\u003c/p>\n\u003cp>With the lion’s share of major music festivals in our rearview mirror, fall is also the time when smaller fests and community-oriented parties really shine. And there’s none, perhaps, that’s seeped in fierce local pride quite like the annual \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a>, which takes place in Oakland this year on Saturday, Oct. 8.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2AV0mcg9rXA\u003c/p>\n\u003cp>Now in its ninth year, Life is Living sees West Oakland’s DeFremery Park transformed into an admission-free party with a purpose, in which workshops on social and environmental justice, youth access to arts education, and a celebration of this \u003ca href=\"https://www.youtube.com/watch?v=jXuSL9UsdN8\" target=\"_blank\" rel=\"noopener\">oft-misunderstood neighborhood\u003c/a> all come together against a backdrop of live entertainment by local hip-hop artists and poets from Youth Speaks.\u003c/p>\n\u003cp>This year’s fest promises to be a special one: October 2016 marks the 50th anniversary of the founding of the \u003ca href=\"https://ww2.kqed.org/arts/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a>. The lineup reflects that theme, kicking off with free breakfast at 10am in the “Food Justice Wellness Zone,” and culminating with Oakland’s reigning hip-hop radicals The Coup headlining the main stage at 5pm. Other can’t-miss appearances include a Prince tribute from \u003ca href=\"http://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener\">Ryan Nicole\u003c/a> and \u003ca href=\"https://www.facebook.com/soulmechanix/\" target=\"_blank\" rel=\"noopener\">Soul Mechanix\u003c/a>; traditional Senegalese, Congolese, Haitian and West African dances all day in the “Africa in Oakland” stage; two different sets from Azariah Cole-Shephard, aka Oakland’s \u003ca href=\"http://youthspeaks.org/poetlaureate/\" target=\"_blank\" rel=\"noopener\">2016 Youth Poet Laureate\u003c/a>; live theater from the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a>; and a kids’ zone hosted by \u003ca href=\"http://emilybutterfly.com/\" target=\"_blank\" rel=\"noopener\">Emily Butterfly\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12155325\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg\" alt=\"Ryan Nicole.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12155325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Nicole.\u003c/figcaption>\u003c/figure>\n\u003cp>Also: after years of locals referring to the park as “Little Bobby Hutton Park” to commemorate the \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Hutton\" target=\"_blank\" rel=\"noopener\">young Black Panther shot by police\u003c/a>, the City of Oakland last month \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2016/09/26/town-business-finding-a-new-police-chief-bobby-hutton-grove-saving-oaklands-sros\" target=\"_blank\" rel=\"noopener\">officially dedicated\u003c/a> a portion of the park as “Bobby Hutton Grove.” The rest of October will see a plethora of Black Panther-related events around the Bay Area; watch this space for more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Life is Living Festival’s Tribute to the Black Panthers takes place on Saturday, Oct. 8, at DeFremery Park, 1651 Adeline St., Oakland. 10am–7pm. \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fZ_gFyB6GnA\u003c/p>\n\n",
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"excerpt": "On Saturday, Oct. 8, an annual celebration of all things Oakland honors the Black Panther Party in style — with free breakfast, Youth Speaks poets and The Coup. ",
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"title": "Sound Advice: Life Is Living Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>October in the Bay Area signals many shifts: students head back to school; it’s the month we’re most likely to experience temperatures resembling “real” summer; a certain \u003ca href=\"http://www.mccoveychronicles.com/2016/10/2/13142036/sf-giants-clinch-recap\" target=\"_blank\" rel=\"noopener\">up-and-down baseball team\u003c/a> somehow worms its way into the postseason.\u003c/p>\n\u003cp>With the lion’s share of major music festivals in our rearview mirror, fall is also the time when smaller fests and community-oriented parties really shine. And there’s none, perhaps, that’s seeped in fierce local pride quite like the annual \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a>, which takes place in Oakland this year on Saturday, Oct. 8.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2AV0mcg9rXA'\n title='//www.youtube.com/embed/2AV0mcg9rXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now in its ninth year, Life is Living sees West Oakland’s DeFremery Park transformed into an admission-free party with a purpose, in which workshops on social and environmental justice, youth access to arts education, and a celebration of this \u003ca href=\"https://www.youtube.com/watch?v=jXuSL9UsdN8\" target=\"_blank\" rel=\"noopener\">oft-misunderstood neighborhood\u003c/a> all come together against a backdrop of live entertainment by local hip-hop artists and poets from Youth Speaks.\u003c/p>\n\u003cp>This year’s fest promises to be a special one: October 2016 marks the 50th anniversary of the founding of the \u003ca href=\"https://ww2.kqed.org/arts/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a>. The lineup reflects that theme, kicking off with free breakfast at 10am in the “Food Justice Wellness Zone,” and culminating with Oakland’s reigning hip-hop radicals The Coup headlining the main stage at 5pm. Other can’t-miss appearances include a Prince tribute from \u003ca href=\"http://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener\">Ryan Nicole\u003c/a> and \u003ca href=\"https://www.facebook.com/soulmechanix/\" target=\"_blank\" rel=\"noopener\">Soul Mechanix\u003c/a>; traditional Senegalese, Congolese, Haitian and West African dances all day in the “Africa in Oakland” stage; two different sets from Azariah Cole-Shephard, aka Oakland’s \u003ca href=\"http://youthspeaks.org/poetlaureate/\" target=\"_blank\" rel=\"noopener\">2016 Youth Poet Laureate\u003c/a>; live theater from the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a>; and a kids’ zone hosted by \u003ca href=\"http://emilybutterfly.com/\" target=\"_blank\" rel=\"noopener\">Emily Butterfly\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12155325\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg\" alt=\"Ryan Nicole.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12155325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Nicole.\u003c/figcaption>\u003c/figure>\n\u003cp>Also: after years of locals referring to the park as “Little Bobby Hutton Park” to commemorate the \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Hutton\" target=\"_blank\" rel=\"noopener\">young Black Panther shot by police\u003c/a>, the City of Oakland last month \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2016/09/26/town-business-finding-a-new-police-chief-bobby-hutton-grove-saving-oaklands-sros\" target=\"_blank\" rel=\"noopener\">officially dedicated\u003c/a> a portion of the park as “Bobby Hutton Grove.” The rest of October will see a plethora of Black Panther-related events around the Bay Area; watch this space for more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life is Living Festival’s Tribute to the Black Panthers takes place on Saturday, Oct. 8, at DeFremery Park, 1651 Adeline St., Oakland. 10am–7pm. \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fZ_gFyB6GnA'\n title='//www.youtube.com/embed/fZ_gFyB6GnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Art and Psychiatry On Trial: The Strange Case of Pierce v. Oremland",
"headTitle": "Art and Psychiatry On Trial: The Strange Case of Pierce v. Oremland | KQED",
"content": "\u003cp>When he died earlier this year, Dr. Jerome D. Oremland was hailed as a leading Bay Area psychiatrist, an art collector and the author of multiple books exploring the overlapping realms of art and psychology.\u003c/p>\n\u003cp>Now, his estate is embroiled in a malpractice lawsuit set for trial Oct. 3 in the San Francisco Superior Court. The suit claims Oremland violated professional boundaries and induced a patient, John Pierce, to give him at least a dozen rare works of art by masters such as French modernist Henri Matisse and Italian Renaissance artist Raphael.\u003c/p>\n\u003cfigure id=\"attachment_12151605\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151605\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg\" alt=\"Henri Matisse, 'Nu debout,' 1904.\" width=\"520\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-414x600.jpg 414w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Nu debout,’ 1904. \u003ccite>(Recorded in the Henri Matisse Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce’s lawsuit, filed in 2015 before the psychiatrist died, also claims Oremland improperly used his patient as a private detective to conduct “unsavory” investigations, as a handyman to clean his swimming pool, and as “essentially a personal servant,” before manipulating Pierce in an attempt to cover up his allegedly unethical use of a vulnerable patient.\u003c/p>\n\u003cp>In court records, lawyers for Oremland’s estate deny the allegations. They say the patient consented to any business dealings he may have had with Oremland, and any art he gave the doctor was given willingly as payment for psychiatric treatment.\u003c/p>\n\u003ch3>The patient and the psychiatrist\u003c/h3>\n\u003cp>Pierce, the lawsuit says, had a history of psychological difficulties and several hospitalizations before he began intensive therapy with Oremland in 1984.\u003c/p>\n\u003cfigure id=\"attachment_12151608\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Pierce.jpg\" alt=\"John Pierce\" width=\"334\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce-313x600.jpg 313w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003cfigcaption class=\"wp-caption-text\">John Pierce. (Photo courtesy John Pierce)\u003c/figcaption>\u003c/figure>\n\u003cp>Oremland was a prominent psychiatrist with a “regal manner,” a “Renaissance man” known for opulent soirees at his Sausalito home and his exacting standards in all things, the \u003cem>San Francisco Chronicle\u003c/em> reported in \u003ca href=\"http://www.sfgate.com/bayarea/article/Dr-Jerome-Oremland-noted-Bay-Area-psychiatrist-6864140.php\" target=\"_blank\" rel=\"noopener\">an obituary\u003c/a> published upon Oremland’s death in February 2016. He died from cancer at age 87.\u003c/p>\n\u003caside class=\"pullquote alignright\">Pierce and Oremland met three times a week for 26 years.\u003c/aside>\n\u003cp>In addition to his private practice, Oremland had served as chief of psychiatry at Children’s Hospital in San Francisco and taught clinical psychiatry at UCSF. His interest in the arts led him to write a novel titled \u003ci>\u003ca href=\"https://www.amazon.com/Man-Who-Killed-Caravaggio/dp/1426960883/ref=sr_1_1?s=books&ie=UTF8&qid=1475098069&sr=1-1\" target=\"_blank\" rel=\"noopener\">The Man Who Killed Caravaggio\u003c/a>\u003c/i>, about the Italian painter, and the nonfiction book \u003cem>Michelangelo’s Sistine Ceiling: A Psychoanalytic Study of Creativity\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pierce and Oremland met three times a week for 26 years, before gradually reducing the sessions and ending them altogether in mid-2014. Meanwhile, Pierce was a successful building contractor and, like Oremland, collected art.\u003c/p>\n\u003cp>But along the way, the lawsuit claims, Oremland also breached professional boundaries and exploited a vulnerable patient for his own gain.\u003c/p>\n\u003ch3>Trading art for therapy\u003c/h3>\n\u003cp>Pierce, now 67, says in court papers that during therapy sessions with the psychiatrist, he was induced to give Oremland a dozen “high end” art works, including paintings by Matisse, Luca Giordano, Nicolaes Maes and Ferdinand Bol; drawings by Raphael, Joan Miró and Edvard Munch; and a bust of Egon Schiele.\u003c/p>\n\u003cfigure id=\"attachment_12151609\" class=\"wp-caption aligncenter\" style=\"max-width: 535px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151609\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Schiele.jpg\" alt=\"Bust of Egon Schiele\" width=\"535\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele.jpg 535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-453x600.jpg 453w\" sizes=\"(max-width: 535px) 100vw, 535px\">\u003cfigcaption class=\"wp-caption-text\">Bust of Egon Schiele\u003c/figcaption>\u003c/figure>\n\u003cp>During one session, he claims, the psychiatrist convinced Pierce to buy 12 rare David Park woodcuts titled \u003cem>Genesis\u003c/em>, and to give him eight of them.\u003c/p>\n\u003caside class=\"pullquote alignright\">The lawsuit claims Oremland received the artwork at a “fraction” of its value.\u003c/aside>\n\u003cp>Oremland also allegedly “cajoled” Pierce into convincing a friend to sell a rare Albrecht Dürer book, \u003cem>The Little Passion\u003c/em>, to a socialite who was also one of Oremland’s patients. As a commission on the $15,000 sale, the lawsuit claims, Oremland received an old master print. (The lawsuit does not specify the artist.)\u003c/p>\n\u003cp>Although the art was supposedly payment for therapy, the lawsuit claims, Oremland used many of their sessions to solicit art, propose financial schemes and discuss other subjects unrelated to treatment.\u003c/p>\n\u003cp>Geoffrey Spellberg, Pierce’s attorney, said in an interview that the lawsuit claims Oremland received the artwork at a “fraction” of its value and “basically stole it under the guise of providing psychotherapy.”\u003c/p>\n\u003cp>David Shuey and Lisa Ungerer, attorneys for Oremland’s estate, did not respond to requests for comment.\u003c/p>\n\u003ch3>Drawing the line\u003c/h3>\n\u003cp>The American Psychiatric Association’s ethics guidelines warn psychiatrists to respect professional boundaries, because patients “may be especially vulnerable to undue influences.” The APA continues: “the psychiatrist should be sensitive and careful that his/her conduct does not physically, sexually, psychologically, spiritually or financially exploit or harm the patient.”\u003c/p>\n\u003cp>In an interview, Dr. Charles Dike, a member of the APA ethics committee and assistant professor of psychiatry at Yale University, declined comment on the Orlemand lawsuit specifically. He noted that sexual relations with current and former patients are strictly prohibited, and that other involvements outside the therapeutic relationship — such as business dealings, accepting gifts and bartering goods for treatment — are strongly discouraged because they can likewise undermine therapy and lead to exploitation.\u003c/p>\n\u003cfigure id=\"attachment_12151607\" class=\"wp-caption aligncenter\" style=\"max-width: 559px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151607 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg\" alt=\"Joan Miró, 'Femme et oiseau dans la nuit,' 1972.\" width=\"559\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-444x600.jpg 444w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003cfigcaption class=\"wp-caption-text\">Joan Miró, ‘Femme et oiseau dans la nuit,’ 1972.\u003c/figcaption>\u003c/figure>\n\u003cp>The frequency of such boundary violations is unknown. \u003cem>Current Psychiatry\u003c/em>, a professional journal, reported in 2008 that an estimated 6 to 10 percent of psychiatrists engaged in sexual relationships with patients. Other kinds of boundary violations occur more often, the journal said.\u003c/p>\n\u003cp>The article concluded, “Don’t foster dependence, use patients for your own gratification, have extra-therapeutic contact, or accept gifts or services from patients.”\u003c/p>\n\u003ch3>Private investigations\u003c/h3>\n\u003cp>The lawsuit maintains Orlemand extracted more than just art from Pierce. During several sessions, the lawsuit claims, Oremland led him to invest in the Cascade Acceptance Corporation, an investment firm with which Oremland had a relationship. Pierce did so, it says, and lost about $350,000.\u003c/p>\n\u003cp>The psychiatrist also allegedly persuaded Pierce, a licensed private detective, to conduct various investigations, some involving other patients.\u003c/p>\n\u003caside class=\"pullquote alignright\">Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool.\u003c/aside>\n\u003cp>In one instance, Oremland allegedly revealed to Pierce that another patient was concerned about mysterious charges to the credit card of her husband. At Oremland’s request, Pierce investigated and confirmed the charges were from a “lap dancing establishment,” the lawsuit says.\u003c/p>\n\u003cp>The lawsuit does not identify the patient or her husband.\u003c/p>\n\u003cp>Oremland also prevailed upon Pierce to investigate the man who was to marry his youngest daughter, the lawsuit says.\u003c/p>\n\u003cp>Pierce’s lawsuit claims Oremland used him as “essentially a personal servant.” In a court declaration, he said, “It was common during a therapy session for Dr. Oremland to interrupt the therapy and give me direction as to what work he wanted me to perform.”\u003c/p>\n\u003cp>Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool — work the lawsuit values at $200,000.\u003c/p>\n\u003cp>The psychiatrist sometimes invited him to parties for the San Francisco Ballet, the lawsuit says, where he became obligated to make contributions.\u003c/p>\n\u003cp>All the while, Oremland failed to maintain professional objectivity and misdiagnosed Pierce, the lawsuit claims, telling him at one point that he “suffered from bad thoughts” but “I love you.”\u003c/p>\n\u003ch3>‘Legitimate Payment for Therapy’\u003c/h3>\n\u003cp>In 2012, Oremland allegedly moved to cover up his exploitation of Pierce by drafting a statement for Pierce to sign that said the psychiatrist had acted only in Pierce’s interests. A copy of the statement filed in court says, “In summary, Dr. Oremland, he has never profited from our relationship in any way other than the professional fees I pay him.” Pierce claims that Oremland coerced him to sign it.\u003c/p>\n\u003caside class=\"pullquote alignright\">The estate denies Pierce is owed anything.\u003c/aside>\n\u003cp>In the lawsuit, Pierce demands the return of the artwork, compensation for his work, and repayment of fees he paid Oremland. The estate denies Pierce is owed anything.\u003c/p>\n\u003cp>In court records, John D. Teter, the executor of Oremland’s estate, insists that any transfers of art from Pierce to the psychiatrist were legitimate payment for therapy; he further denies that Pierce was injured. Teter did not respond to a request for comment.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld, formerly a staff reporter for the \u003c/em>San Francisco Chronicle\u003cem>, is a San Francisco-based freelance journalist whose work has appeared in the \u003c/em>New York Times\u003cem>, the \u003c/em>Los Angeles Times\u003cem> and \u003c/em>Harper’s Magazine\u003cem>, among other publications. He is the author of \u003c/em>Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he died earlier this year, Dr. Jerome D. Oremland was hailed as a leading Bay Area psychiatrist, an art collector and the author of multiple books exploring the overlapping realms of art and psychology.\u003c/p>\n\u003cp>Now, his estate is embroiled in a malpractice lawsuit set for trial Oct. 3 in the San Francisco Superior Court. The suit claims Oremland violated professional boundaries and induced a patient, John Pierce, to give him at least a dozen rare works of art by masters such as French modernist Henri Matisse and Italian Renaissance artist Raphael.\u003c/p>\n\u003cfigure id=\"attachment_12151605\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151605\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg\" alt=\"Henri Matisse, 'Nu debout,' 1904.\" width=\"520\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-414x600.jpg 414w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Nu debout,’ 1904. \u003ccite>(Recorded in the Henri Matisse Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce’s lawsuit, filed in 2015 before the psychiatrist died, also claims Oremland improperly used his patient as a private detective to conduct “unsavory” investigations, as a handyman to clean his swimming pool, and as “essentially a personal servant,” before manipulating Pierce in an attempt to cover up his allegedly unethical use of a vulnerable patient.\u003c/p>\n\u003cp>In court records, lawyers for Oremland’s estate deny the allegations. They say the patient consented to any business dealings he may have had with Oremland, and any art he gave the doctor was given willingly as payment for psychiatric treatment.\u003c/p>\n\u003ch3>The patient and the psychiatrist\u003c/h3>\n\u003cp>Pierce, the lawsuit says, had a history of psychological difficulties and several hospitalizations before he began intensive therapy with Oremland in 1984.\u003c/p>\n\u003cfigure id=\"attachment_12151608\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Pierce.jpg\" alt=\"John Pierce\" width=\"334\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce-313x600.jpg 313w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003cfigcaption class=\"wp-caption-text\">John Pierce. (Photo courtesy John Pierce)\u003c/figcaption>\u003c/figure>\n\u003cp>Oremland was a prominent psychiatrist with a “regal manner,” a “Renaissance man” known for opulent soirees at his Sausalito home and his exacting standards in all things, the \u003cem>San Francisco Chronicle\u003c/em> reported in \u003ca href=\"http://www.sfgate.com/bayarea/article/Dr-Jerome-Oremland-noted-Bay-Area-psychiatrist-6864140.php\" target=\"_blank\" rel=\"noopener\">an obituary\u003c/a> published upon Oremland’s death in February 2016. He died from cancer at age 87.\u003c/p>\n\u003caside class=\"pullquote alignright\">Pierce and Oremland met three times a week for 26 years.\u003c/aside>\n\u003cp>In addition to his private practice, Oremland had served as chief of psychiatry at Children’s Hospital in San Francisco and taught clinical psychiatry at UCSF. His interest in the arts led him to write a novel titled \u003ci>\u003ca href=\"https://www.amazon.com/Man-Who-Killed-Caravaggio/dp/1426960883/ref=sr_1_1?s=books&ie=UTF8&qid=1475098069&sr=1-1\" target=\"_blank\" rel=\"noopener\">The Man Who Killed Caravaggio\u003c/a>\u003c/i>, about the Italian painter, and the nonfiction book \u003cem>Michelangelo’s Sistine Ceiling: A Psychoanalytic Study of Creativity\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pierce and Oremland met three times a week for 26 years, before gradually reducing the sessions and ending them altogether in mid-2014. Meanwhile, Pierce was a successful building contractor and, like Oremland, collected art.\u003c/p>\n\u003cp>But along the way, the lawsuit claims, Oremland also breached professional boundaries and exploited a vulnerable patient for his own gain.\u003c/p>\n\u003ch3>Trading art for therapy\u003c/h3>\n\u003cp>Pierce, now 67, says in court papers that during therapy sessions with the psychiatrist, he was induced to give Oremland a dozen “high end” art works, including paintings by Matisse, Luca Giordano, Nicolaes Maes and Ferdinand Bol; drawings by Raphael, Joan Miró and Edvard Munch; and a bust of Egon Schiele.\u003c/p>\n\u003cfigure id=\"attachment_12151609\" class=\"wp-caption aligncenter\" style=\"max-width: 535px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151609\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Schiele.jpg\" alt=\"Bust of Egon Schiele\" width=\"535\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele.jpg 535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-453x600.jpg 453w\" sizes=\"(max-width: 535px) 100vw, 535px\">\u003cfigcaption class=\"wp-caption-text\">Bust of Egon Schiele\u003c/figcaption>\u003c/figure>\n\u003cp>During one session, he claims, the psychiatrist convinced Pierce to buy 12 rare David Park woodcuts titled \u003cem>Genesis\u003c/em>, and to give him eight of them.\u003c/p>\n\u003caside class=\"pullquote alignright\">The lawsuit claims Oremland received the artwork at a “fraction” of its value.\u003c/aside>\n\u003cp>Oremland also allegedly “cajoled” Pierce into convincing a friend to sell a rare Albrecht Dürer book, \u003cem>The Little Passion\u003c/em>, to a socialite who was also one of Oremland’s patients. As a commission on the $15,000 sale, the lawsuit claims, Oremland received an old master print. (The lawsuit does not specify the artist.)\u003c/p>\n\u003cp>Although the art was supposedly payment for therapy, the lawsuit claims, Oremland used many of their sessions to solicit art, propose financial schemes and discuss other subjects unrelated to treatment.\u003c/p>\n\u003cp>Geoffrey Spellberg, Pierce’s attorney, said in an interview that the lawsuit claims Oremland received the artwork at a “fraction” of its value and “basically stole it under the guise of providing psychotherapy.”\u003c/p>\n\u003cp>David Shuey and Lisa Ungerer, attorneys for Oremland’s estate, did not respond to requests for comment.\u003c/p>\n\u003ch3>Drawing the line\u003c/h3>\n\u003cp>The American Psychiatric Association’s ethics guidelines warn psychiatrists to respect professional boundaries, because patients “may be especially vulnerable to undue influences.” The APA continues: “the psychiatrist should be sensitive and careful that his/her conduct does not physically, sexually, psychologically, spiritually or financially exploit or harm the patient.”\u003c/p>\n\u003cp>In an interview, Dr. Charles Dike, a member of the APA ethics committee and assistant professor of psychiatry at Yale University, declined comment on the Orlemand lawsuit specifically. He noted that sexual relations with current and former patients are strictly prohibited, and that other involvements outside the therapeutic relationship — such as business dealings, accepting gifts and bartering goods for treatment — are strongly discouraged because they can likewise undermine therapy and lead to exploitation.\u003c/p>\n\u003cfigure id=\"attachment_12151607\" class=\"wp-caption aligncenter\" style=\"max-width: 559px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151607 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg\" alt=\"Joan Miró, 'Femme et oiseau dans la nuit,' 1972.\" width=\"559\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-444x600.jpg 444w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003cfigcaption class=\"wp-caption-text\">Joan Miró, ‘Femme et oiseau dans la nuit,’ 1972.\u003c/figcaption>\u003c/figure>\n\u003cp>The frequency of such boundary violations is unknown. \u003cem>Current Psychiatry\u003c/em>, a professional journal, reported in 2008 that an estimated 6 to 10 percent of psychiatrists engaged in sexual relationships with patients. Other kinds of boundary violations occur more often, the journal said.\u003c/p>\n\u003cp>The article concluded, “Don’t foster dependence, use patients for your own gratification, have extra-therapeutic contact, or accept gifts or services from patients.”\u003c/p>\n\u003ch3>Private investigations\u003c/h3>\n\u003cp>The lawsuit maintains Orlemand extracted more than just art from Pierce. During several sessions, the lawsuit claims, Oremland led him to invest in the Cascade Acceptance Corporation, an investment firm with which Oremland had a relationship. Pierce did so, it says, and lost about $350,000.\u003c/p>\n\u003cp>The psychiatrist also allegedly persuaded Pierce, a licensed private detective, to conduct various investigations, some involving other patients.\u003c/p>\n\u003caside class=\"pullquote alignright\">Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool.\u003c/aside>\n\u003cp>In one instance, Oremland allegedly revealed to Pierce that another patient was concerned about mysterious charges to the credit card of her husband. At Oremland’s request, Pierce investigated and confirmed the charges were from a “lap dancing establishment,” the lawsuit says.\u003c/p>\n\u003cp>The lawsuit does not identify the patient or her husband.\u003c/p>\n\u003cp>Oremland also prevailed upon Pierce to investigate the man who was to marry his youngest daughter, the lawsuit says.\u003c/p>\n\u003cp>Pierce’s lawsuit claims Oremland used him as “essentially a personal servant.” In a court declaration, he said, “It was common during a therapy session for Dr. Oremland to interrupt the therapy and give me direction as to what work he wanted me to perform.”\u003c/p>\n\u003cp>Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool — work the lawsuit values at $200,000.\u003c/p>\n\u003cp>The psychiatrist sometimes invited him to parties for the San Francisco Ballet, the lawsuit says, where he became obligated to make contributions.\u003c/p>\n\u003cp>All the while, Oremland failed to maintain professional objectivity and misdiagnosed Pierce, the lawsuit claims, telling him at one point that he “suffered from bad thoughts” but “I love you.”\u003c/p>\n\u003ch3>‘Legitimate Payment for Therapy’\u003c/h3>\n\u003cp>In 2012, Oremland allegedly moved to cover up his exploitation of Pierce by drafting a statement for Pierce to sign that said the psychiatrist had acted only in Pierce’s interests. A copy of the statement filed in court says, “In summary, Dr. Oremland, he has never profited from our relationship in any way other than the professional fees I pay him.” Pierce claims that Oremland coerced him to sign it.\u003c/p>\n\u003caside class=\"pullquote alignright\">The estate denies Pierce is owed anything.\u003c/aside>\n\u003cp>In the lawsuit, Pierce demands the return of the artwork, compensation for his work, and repayment of fees he paid Oremland. The estate denies Pierce is owed anything.\u003c/p>\n\u003cp>In court records, John D. Teter, the executor of Oremland’s estate, insists that any transfers of art from Pierce to the psychiatrist were legitimate payment for therapy; he further denies that Pierce was injured. Teter did not respond to a request for comment.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld, formerly a staff reporter for the \u003c/em>San Francisco Chronicle\u003cem>, is a San Francisco-based freelance journalist whose work has appeared in the \u003c/em>New York Times\u003cem>, the \u003c/em>Los Angeles Times\u003cem> and \u003c/em>Harper’s Magazine\u003cem>, among other publications. He is the author of \u003c/em>Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The man who got generations of hot dog lovers singing along to the Oscar Mayer Wiener song has died.\u003c/p>\n\u003cp>Richard Trentlage died Sept. 21 in Libertyville, Illinois, at the age of 87, according to an obituary posted online by a northern Illinois funeral home.\u003c/p>\n\u003cp>With the words, “Oh, I wish I were an Oscar Mayer wiener,” Trentlage helped solidify the company’s hot dogs as a piece of Americana. The jingle he wrote appeared in a 1960s television commercial featuring cartoon children marching along and singing. The tune remained a fixture for the next half a century.\u003c/p>\n\u003cp>Trentlage was born in Chicago and began penning jingles as a high school student, starting with one about a fictional company he called Modern Plastic Brooms. The idea was to dream up a believable sponsor for a school talent show and sing the jingle during commercial breaks in a performance modeled after a radio program.\u003c/p>\n\u003cp>The Modern Plastic Broom jingle was evidently so memorable that his former classmates sang it during a 50th reunion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trentlage transformed his living room into a makeshift recording studio, inviting his own children to sing on audition tapes. His children even recorded “on-air” sessions.\u003c/p>\n\u003cp>“We were always getting out of school to hop a train and meet our dad at a Chicago recording studio,” his daughter, Linda Bruun, recalled in the funeral home obituary.\u003c/p>\n\u003cp>Trentlage was no one-hit wonder. He also wrote “WOW! It sure doesn’t taste like tomato juice” for V8, “Buckle up for safety, buckle up!” for the National Safety Council and “McDonald’s is your kind of place!” for the burger chain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The man who got generations of hot dog lovers singing along to the Oscar Mayer Wiener song has died.\u003c/p>\n\u003cp>Richard Trentlage died Sept. 21 in Libertyville, Illinois, at the age of 87, according to an obituary posted online by a northern Illinois funeral home.\u003c/p>\n\u003cp>With the words, “Oh, I wish I were an Oscar Mayer wiener,” Trentlage helped solidify the company’s hot dogs as a piece of Americana. The jingle he wrote appeared in a 1960s television commercial featuring cartoon children marching along and singing. The tune remained a fixture for the next half a century.\u003c/p>\n\u003cp>Trentlage was born in Chicago and began penning jingles as a high school student, starting with one about a fictional company he called Modern Plastic Brooms. The idea was to dream up a believable sponsor for a school talent show and sing the jingle during commercial breaks in a performance modeled after a radio program.\u003c/p>\n\u003cp>The Modern Plastic Broom jingle was evidently so memorable that his former classmates sang it during a 50th reunion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trentlage transformed his living room into a makeshift recording studio, inviting his own children to sing on audition tapes. His children even recorded “on-air” sessions.\u003c/p>\n\u003cp>“We were always getting out of school to hop a train and meet our dad at a Chicago recording studio,” his daughter, Linda Bruun, recalled in the funeral home obituary.\u003c/p>\n\u003cp>Trentlage was no one-hit wonder. He also wrote “WOW! It sure doesn’t taste like tomato juice” for V8, “Buckle up for safety, buckle up!” for the National Safety Council and “McDonald’s is your kind of place!” for the burger chain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/285304383″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003ca href=\"http://www.farruquito.eu/en/\" target=\"_blank\" rel=\"noopener\">Farruquito \u003c/a>is such a big deal in the world of flamenco, that like Beyoncé or Sting, he goes by just one name. He’s tall, dark and sexy. And he moves, \u003ca href=\"http://www.nytimes.com/2016/03/12/arts/dance/review-farruquito-flamenco-from-a-soaring-eagle.html\" target=\"_blank\" rel=\"noopener\">one critic wrote, like an eagle in flight.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11364719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s fascinating to see Farruquito, born Juan Manuel Fernández Montoya, slow his dancing down in the video he made a few months ago to demonstrate the choreography for a series of flash mobs staged first at the \u003ca href=\"http://www.labienal.com/en/\" target=\"_blank\" rel=\"noopener\">Biennial of Flamenco in Sevilla\u003c/a> in early September, and \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">this week in San Francisco\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-K6vj12-Tc\u003c/p>\n\u003cp>“Is everybody excited,” asked Nina Menendez, founder and director of the\u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\"> Bay Area Flamenco Festival\u003c/a>, of the 15 people attending a rehearsal last week for a flash mob scheduled for Friday, Sep. 30, at 6pm in UN Plaza, ahead of a performance by Farruquito on Saturday, Oct. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Whoo-hoo” came the the reply, as people stripped off layers of clothes, and spread out before the wall length mirror at \u003ca href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance Studios\u003c/a>.\u003c/p>\n\u003cp>The students were a pretty sophisticated group of amateurs; many have been dancing flamenco for years, and most had seen Farruquito perform at least once.\u003c/p>\n\u003cp>“It’s almost like he keeps you guessing,” said Daniel Genera, probably the oldest student and definitely the only man in the group. “You don’t know what he’ll do next. It’s wild, but it’s very controlled and clean. And that’s what I love about it.”\u003c/p>\n\u003cfigure id=\"attachment_12131484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131484\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/024-800x495.jpg\" alt=\"Daniel Genera prepares for a Farruquito flamenco flashmob\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Genera prepares for a Farruquito flamenco flash mob \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Genera stayed in the back row, his eyes on the mirror and rehearsal leader\u003ca href=\"http://aguaclaraflamenco.com/\" target=\"_blank\" rel=\"noopener\"> Clara Rodriguez\u003c/a>. She’s a longtime Bay Area flamenco teacher, who pulled up her skirt, in a classic Flamenco pose, to show off her footwork.\u003c/p>\n\u003cp>When I asked Rodriguez about the prospect of dancing with Farruquito, she sounded almost giddy, “I’m so excited. He’s been like my idol forever.”\u003c/p>\n\u003cp>Farruquito makes it all look so easy in the video, but everyone struggled at first to master the quick skips, the arching arms, the sudden weight shifts and leaps he demonstrated.\u003c/p>\n\u003cp>“I know it’s hard,” Rodriguez assured the group. “Don’t get scared.”\u003c/p>\n\u003cfigure id=\"attachment_12131677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg\" alt=\"Clara Rodriguez leads the flash mob rehearsal\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1180x705.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1920x1147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-960x574.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara Rodriguez leads the flash mob rehearsal \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And 30 minutes of sweat-inducing work later, the dancers had gained some confidence, and the clapping and foot work became more coordinated.\u003c/p>\n\u003cp>“We’re getting it, we’re getting it,” Rodriguez encouraged. “It’s the hardest step in the whole piece, so don’t go ‘Oh my God.’ It took me a whole week to figure it out. Try it again.”\u003c/p>\n\u003cp>Finally, at about 11pm, Rodriguez led two complete run-throughs of the almost 4-minute dance, and then ended the rehearsal.\u003c/p>\n\u003cp>As they gulped down tea from a thermos, I talked with the dancers about why they love flamenco so much. For Clara De Bece, it’s the inclusiveness, “Everyone is welcome,” she said, even people who don’t fit a certain body type, or carry a bit more weight than, say, the average ballet student.”\u003c/p>\n\u003cp>“I have classmates,” De Bece said, “who are like 70 years old and they’re dancing and they look great. And you can express yourself no matter what stage of your life you’re in. You don’t have to be anybody else. You can have your own style. With this type of dance.”\u003c/p>\n\u003cp>De Bece and Genera are Mexican-American, and I discovered that many in the class are immigrants from Spain or Latin America, drawn to a dance style that melds Romani, Spanish, North African, Sephardic and even Indian traditions.\u003c/p>\n\u003cfigure id=\"attachment_12131876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131876\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg\" alt=\"The dancers are getting the hang of Farruquitos choreography\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-960x626.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dancers are getting the hang of Farruquitos choreography \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from Argentina with Armenian roots,” Micaela Nerguizian told me, “and Flamenco captures the Latin and the Middle eastern in me.”\u003c/p>\n\u003cp>Nerguizian has been dancing flamenco for 8 years, but she said she doesn’t worry too much about technique.\u003c/p>\n\u003cp>“I’m here to have fun,” Nerguizuizian said. “That’s the most important part of all. It’s really about feeling it inside you…and just dancing your heart out.”\u003c/p>\n\u003cp>Watching the rehearsal, I knew I couldn’t have put more than two steps together without forgetting what’s next. But “in flamenco,” Rodriguez said, “it’s not about how much you can do, but what you do with what you already have.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good advice for anyone still thinking about joining the \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">flashmob on Friday.\u003c/a>\u003c/p>\n\n",
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"excerpt": "Farruquito, via videos, shows a group of amateur dancers how its done ahead of a flash mob performance -- and his own show -- this week.",
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"title": "A Flash Mob in San Francisco with a Shining Star of Flamenco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/285304383″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/285304383″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.farruquito.eu/en/\" target=\"_blank\" rel=\"noopener\">Farruquito \u003c/a>is such a big deal in the world of flamenco, that like Beyoncé or Sting, he goes by just one name. He’s tall, dark and sexy. And he moves, \u003ca href=\"http://www.nytimes.com/2016/03/12/arts/dance/review-farruquito-flamenco-from-a-soaring-eagle.html\" target=\"_blank\" rel=\"noopener\">one critic wrote, like an eagle in flight.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11364719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s fascinating to see Farruquito, born Juan Manuel Fernández Montoya, slow his dancing down in the video he made a few months ago to demonstrate the choreography for a series of flash mobs staged first at the \u003ca href=\"http://www.labienal.com/en/\" target=\"_blank\" rel=\"noopener\">Biennial of Flamenco in Sevilla\u003c/a> in early September, and \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">this week in San Francisco\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s-K6vj12-Tc'\n title='//www.youtube.com/embed/s-K6vj12-Tc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Is everybody excited,” asked Nina Menendez, founder and director of the\u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\"> Bay Area Flamenco Festival\u003c/a>, of the 15 people attending a rehearsal last week for a flash mob scheduled for Friday, Sep. 30, at 6pm in UN Plaza, ahead of a performance by Farruquito on Saturday, Oct. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Whoo-hoo” came the the reply, as people stripped off layers of clothes, and spread out before the wall length mirror at \u003ca href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance Studios\u003c/a>.\u003c/p>\n\u003cp>The students were a pretty sophisticated group of amateurs; many have been dancing flamenco for years, and most had seen Farruquito perform at least once.\u003c/p>\n\u003cp>“It’s almost like he keeps you guessing,” said Daniel Genera, probably the oldest student and definitely the only man in the group. “You don’t know what he’ll do next. It’s wild, but it’s very controlled and clean. And that’s what I love about it.”\u003c/p>\n\u003cfigure id=\"attachment_12131484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131484\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/024-800x495.jpg\" alt=\"Daniel Genera prepares for a Farruquito flamenco flashmob\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Genera prepares for a Farruquito flamenco flash mob \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Genera stayed in the back row, his eyes on the mirror and rehearsal leader\u003ca href=\"http://aguaclaraflamenco.com/\" target=\"_blank\" rel=\"noopener\"> Clara Rodriguez\u003c/a>. She’s a longtime Bay Area flamenco teacher, who pulled up her skirt, in a classic Flamenco pose, to show off her footwork.\u003c/p>\n\u003cp>When I asked Rodriguez about the prospect of dancing with Farruquito, she sounded almost giddy, “I’m so excited. He’s been like my idol forever.”\u003c/p>\n\u003cp>Farruquito makes it all look so easy in the video, but everyone struggled at first to master the quick skips, the arching arms, the sudden weight shifts and leaps he demonstrated.\u003c/p>\n\u003cp>“I know it’s hard,” Rodriguez assured the group. “Don’t get scared.”\u003c/p>\n\u003cfigure id=\"attachment_12131677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg\" alt=\"Clara Rodriguez leads the flash mob rehearsal\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1180x705.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1920x1147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-960x574.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara Rodriguez leads the flash mob rehearsal \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And 30 minutes of sweat-inducing work later, the dancers had gained some confidence, and the clapping and foot work became more coordinated.\u003c/p>\n\u003cp>“We’re getting it, we’re getting it,” Rodriguez encouraged. “It’s the hardest step in the whole piece, so don’t go ‘Oh my God.’ It took me a whole week to figure it out. Try it again.”\u003c/p>\n\u003cp>Finally, at about 11pm, Rodriguez led two complete run-throughs of the almost 4-minute dance, and then ended the rehearsal.\u003c/p>\n\u003cp>As they gulped down tea from a thermos, I talked with the dancers about why they love flamenco so much. For Clara De Bece, it’s the inclusiveness, “Everyone is welcome,” she said, even people who don’t fit a certain body type, or carry a bit more weight than, say, the average ballet student.”\u003c/p>\n\u003cp>“I have classmates,” De Bece said, “who are like 70 years old and they’re dancing and they look great. And you can express yourself no matter what stage of your life you’re in. You don’t have to be anybody else. You can have your own style. With this type of dance.”\u003c/p>\n\u003cp>De Bece and Genera are Mexican-American, and I discovered that many in the class are immigrants from Spain or Latin America, drawn to a dance style that melds Romani, Spanish, North African, Sephardic and even Indian traditions.\u003c/p>\n\u003cfigure id=\"attachment_12131876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131876\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg\" alt=\"The dancers are getting the hang of Farruquitos choreography\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-960x626.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dancers are getting the hang of Farruquitos choreography \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from Argentina with Armenian roots,” Micaela Nerguizian told me, “and Flamenco captures the Latin and the Middle eastern in me.”\u003c/p>\n\u003cp>Nerguizian has been dancing flamenco for 8 years, but she said she doesn’t worry too much about technique.\u003c/p>\n\u003cp>“I’m here to have fun,” Nerguizuizian said. “That’s the most important part of all. It’s really about feeling it inside you…and just dancing your heart out.”\u003c/p>\n\u003cp>Watching the rehearsal, I knew I couldn’t have put more than two steps together without forgetting what’s next. But “in flamenco,” Rodriguez said, “it’s not about how much you can do, but what you do with what you already have.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good advice for anyone still thinking about joining the \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">flashmob on Friday.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>To find out more about SF Opera’s production of \u003cem>Andrea Chenier\u003c/em>, click \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At four o’clock every Sunday, bluegrass musicians take over the Lucky Horseshoe in Bernal Heights for a jam that feels like a subtle transfer of power. People pull banjos and fiddles from under barstools, or suddenly appear, silhouetted in the doorway, carrying a standup bass.\u003c/p>\n\u003cp>In a city ever more digitized and on-demand, the low-tech sound of wood and wire toughs it out in venues like this, a stand-in for the living room, kitchen or porch. Like grass popping through cracks in the sidewalk, bluegrass fans square dance in bookstores and musicians jam in taquerias and on the lawn of the Google campus.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MWiQ8i2RVWM\u003c/p>\n\u003cp>As the circle grows at the Horseshoe, jam host Frank Holmes kicks off “Blue Ridge Mountain Blues,” a song about homesickness. There is an appealing breach of context, listening to rural Appalachian music in the world’s high-tech capital. But the sound suits a city of transplants. The breach is sometimes where you find yourself.\u003c/p>\n\u003cp>“These emotions translate, even if you didn’t grow up in a holler, or learn fiddle on the porch of your grandfather’s cabin,” says Peter Thompson, host of KALW’s long-running weekly bluegrass show, \u003cem>\u003ca href=\"http://kalw.org/programs/bluegrass-signal\" target=\"_blank\" rel=\"noopener\">Bluegrass Signal\u003c/a>\u003c/em>.\u003c/p>\n\u003ch3>Roots in rural America\u003c/h3>\n\u003cp>Bluegrass has its roots in the rural American experience. The “high lonesome sound,” pioneered by Kentuckian Bill Monroe, in the 1940s married traditional tunes from the British Isles with old-time country fiddling. It borrowed blue notes from African-American gospel and jazz, and gave expression to a nostalgic and sometimes fictional past during a time of rapid urbanization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the urban folk revival of the 1960s, bluegrass found a second home in California. The west coast influence of improvisational rock ‘n’ roll expanded the genre in directions Monroe might never have imagined. Musicians like Tony Rice and David “Dawg” Grisman took bluegrass from “Scotch bagpipes and old time fiddlin’,” as Monroe put it, to the limits of jazz, psychedelic rock, Latin music and beyond, inspiring curious-named sub-genres like “spacegrass,” “bloodgrass,” and “weirdgrass.”\u003c/p>\n\u003cp>“Bluegrass is a mongrel,” says Butch Waller, founder of \u003ca href=\"http://highcountrybluegrass.com/\" target=\"_blank\" rel=\"noopener\">High Country\u003c/a>, one of the west coast’s premiere bluegrass bands. “The rules are rigid. Until you break ‘em.”\u003c/p>\n\u003ch3>Proudly nichey\u003c/h3>\n\u003cp>The Bay Area bluegrass scene today is proudly nichey. It’s found mostly in bars, and is by and large the province of amateur musicians who savor its down-to-earth, under-the-radar feel.\u003c/p>\n\u003cp>“Bluegrass will never be mainstream,” says Larry Chung, who plays banjo with the \u003ca href=\"https://www.facebook.com/bernalhillbillies/\" target=\"_blank\" rel=\"noopener\">Bernal Hillbillies\u003c/a>, a band that play gigs right down the road from the Horseshoe at Bare Bottle Brewing. “But that appeals to people here.” Two-time Northern California Guitarist of the Year, Yoseff Tucker, a regular at the open jam at Amnesia, plays in four bands. “The Bay,” he says, “has all of the bluegrass and none of the baggage.”\u003c/p>\n\u003ch3>The mainstreaming of Hardly Strictly\u003c/h3>\n\u003cp>Yet the genre also has a place on more mainstream stages in the Bay Area, such as the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>. The late financier, philanthropist and amateur banjo player Warren Hellman started the free event, briefly named “The Strictly Bluegrass Festival” at its inception in 2001.\u003c/p>\n\u003cfigure id=\"attachment_10888731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10888731 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg\" alt=\"A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ensuing years Hardly Strictly has grown from one day to three, two stages to seven, and from nine bands to more than 90. And over that time, the share of bluegrass on the lineup has fallen to around ten percent. As the festival’s co-founder Jonathan Nelson puts it, “the focus is on the hardly strictly.” Nelson says Hardly Strictly’s programmers are interested in cultivating a community of artists and bringing bands that fit the vibe. “Whether it’s rock, blues, folk, it’s the same thread,” he says.\u003c/p>\n\u003cp>This year’s event, which runs from Friday, Sept. 30 to Sunday, Oct. 2 in Golden Gate Park, includes major out-of-town names playing in the traditional vein, like the Dave Rawlings Machine, the Dry Branch Fire Squad, and Berkeley’s Grammy Award-winning fiddler and raconteur Laurie Lewis and the Right Hands, whose songs pay homage to greats of the past like Lester Flatt, the Stanley Brothers, and Hazel Dickens.\u003c/p>\n\u003ch3>The music goes on\u003c/h3>\n\u003cp>Despite the diminished presence of bluegrass in the festival, Ted Kuster, the San Francisco representative of the California Bluegrass Association and member of local weirdgrass band, the Beauty Operators, says he’s not worried about the future of the traditional scene here. “The difference with bluegrass is the mass of participant listeners,” Kuster says. “And local legends like Laurie Lewis tending the pipeline.\u003c/p>\n\u003cp>Earlier this month, Lewis brought the past, present and future of bluegrass to the stage at the seventh annual Bill Monroe tribute at the Freight and Salvage in Berkeley. With the intimacy and camaraderie of a living room jam, the band and guests took turns with an anthology that every serious bluegrass musician knows by heart.\u003c/p>\n\u003cfigure id=\"attachment_12131480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12131480 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg\" alt=\"Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute. \u003ccite>(Photo: Kristin Scheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next generation was both reverent and inspired. Oakland’s \u003ca href=\"http://tsisters.com/\" target=\"_blank\" rel=\"noopener\">T Sisters\u003c/a>, channeling Emmylou Harris with their signature “three headed sound,” harmonized a woozy version of the spiritual “Wayfaring Stranger,” and 16-year-old Luke Forrest sang the traditional tune “Molly and Tenbrooks” like he was witnessing the high-stakes horse race at the center of the song first hand.\u003c/p>\n\u003cp>If a fictional song about a 1878 equestrian event can make you feel like something from long ago is still at stake, it is not so hard to believe that old-time music has more to offer a city that celebrates the ever new and recently updated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The 2016 Hardly Strictly Bluegrass Festival\u003c/em> runs Friday, Sep. 30 – Sunday, Oct.2,\u003cstrong> in Golden Gate Park, San Francisco. More information \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And if strictly bluegrass is what you’re after, check out the \u003ca href=\"http://www.shelbyashpresents.net.\" target=\"_blank\" rel=\"noopener\">\u003cem>All Bluegrass After Party\u003c/em>\u003c/a> at The Plough and Stars in San Francisco on Friday, Sep. 30. \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Find regular bluegrass jams in San Francisco at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia \u003c/a>on Mondays; the \u003ca href=\"http://www.theluckyhorseshoebar.com\" target=\"_blank\" rel=\"noopener\">Lucky Horseshoe\u003c/a> on Sundays from 4; and \u003ca href=\"http://www.alleycatbookshop.com/events.html\" target=\"_blank\" rel=\"noopener\">Alleycat Books\u003c/a> every fourth Friday. In the East Bay, head to \u003cstrong>\u003ca href=\"http://bajaonpiedmont.com/el-taco-jam/\" target=\"_blank\" rel=\"noopener\">El Taco Jam\u003c/a> at Baja in Oakland on Mondays. \u003ca href=\"http://www.thefreight.org\" target=\"_blank\" rel=\"noopener\">The Freight and Salvage\u003c/a> in Berkeley offers bluegrass performances and workshops, as does the Mountain View Masonic Lodge. \u003c/strong>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At four o’clock every Sunday, bluegrass musicians take over the Lucky Horseshoe in Bernal Heights for a jam that feels like a subtle transfer of power. People pull banjos and fiddles from under barstools, or suddenly appear, silhouetted in the doorway, carrying a standup bass.\u003c/p>\n\u003cp>In a city ever more digitized and on-demand, the low-tech sound of wood and wire toughs it out in venues like this, a stand-in for the living room, kitchen or porch. Like grass popping through cracks in the sidewalk, bluegrass fans square dance in bookstores and musicians jam in taquerias and on the lawn of the Google campus.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MWiQ8i2RVWM'\n title='//www.youtube.com/embed/MWiQ8i2RVWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the circle grows at the Horseshoe, jam host Frank Holmes kicks off “Blue Ridge Mountain Blues,” a song about homesickness. There is an appealing breach of context, listening to rural Appalachian music in the world’s high-tech capital. But the sound suits a city of transplants. The breach is sometimes where you find yourself.\u003c/p>\n\u003cp>“These emotions translate, even if you didn’t grow up in a holler, or learn fiddle on the porch of your grandfather’s cabin,” says Peter Thompson, host of KALW’s long-running weekly bluegrass show, \u003cem>\u003ca href=\"http://kalw.org/programs/bluegrass-signal\" target=\"_blank\" rel=\"noopener\">Bluegrass Signal\u003c/a>\u003c/em>.\u003c/p>\n\u003ch3>Roots in rural America\u003c/h3>\n\u003cp>Bluegrass has its roots in the rural American experience. The “high lonesome sound,” pioneered by Kentuckian Bill Monroe, in the 1940s married traditional tunes from the British Isles with old-time country fiddling. It borrowed blue notes from African-American gospel and jazz, and gave expression to a nostalgic and sometimes fictional past during a time of rapid urbanization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the urban folk revival of the 1960s, bluegrass found a second home in California. The west coast influence of improvisational rock ‘n’ roll expanded the genre in directions Monroe might never have imagined. Musicians like Tony Rice and David “Dawg” Grisman took bluegrass from “Scotch bagpipes and old time fiddlin’,” as Monroe put it, to the limits of jazz, psychedelic rock, Latin music and beyond, inspiring curious-named sub-genres like “spacegrass,” “bloodgrass,” and “weirdgrass.”\u003c/p>\n\u003cp>“Bluegrass is a mongrel,” says Butch Waller, founder of \u003ca href=\"http://highcountrybluegrass.com/\" target=\"_blank\" rel=\"noopener\">High Country\u003c/a>, one of the west coast’s premiere bluegrass bands. “The rules are rigid. Until you break ‘em.”\u003c/p>\n\u003ch3>Proudly nichey\u003c/h3>\n\u003cp>The Bay Area bluegrass scene today is proudly nichey. It’s found mostly in bars, and is by and large the province of amateur musicians who savor its down-to-earth, under-the-radar feel.\u003c/p>\n\u003cp>“Bluegrass will never be mainstream,” says Larry Chung, who plays banjo with the \u003ca href=\"https://www.facebook.com/bernalhillbillies/\" target=\"_blank\" rel=\"noopener\">Bernal Hillbillies\u003c/a>, a band that play gigs right down the road from the Horseshoe at Bare Bottle Brewing. “But that appeals to people here.” Two-time Northern California Guitarist of the Year, Yoseff Tucker, a regular at the open jam at Amnesia, plays in four bands. “The Bay,” he says, “has all of the bluegrass and none of the baggage.”\u003c/p>\n\u003ch3>The mainstreaming of Hardly Strictly\u003c/h3>\n\u003cp>Yet the genre also has a place on more mainstream stages in the Bay Area, such as the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>. The late financier, philanthropist and amateur banjo player Warren Hellman started the free event, briefly named “The Strictly Bluegrass Festival” at its inception in 2001.\u003c/p>\n\u003cfigure id=\"attachment_10888731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10888731 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg\" alt=\"A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ensuing years Hardly Strictly has grown from one day to three, two stages to seven, and from nine bands to more than 90. And over that time, the share of bluegrass on the lineup has fallen to around ten percent. As the festival’s co-founder Jonathan Nelson puts it, “the focus is on the hardly strictly.” Nelson says Hardly Strictly’s programmers are interested in cultivating a community of artists and bringing bands that fit the vibe. “Whether it’s rock, blues, folk, it’s the same thread,” he says.\u003c/p>\n\u003cp>This year’s event, which runs from Friday, Sept. 30 to Sunday, Oct. 2 in Golden Gate Park, includes major out-of-town names playing in the traditional vein, like the Dave Rawlings Machine, the Dry Branch Fire Squad, and Berkeley’s Grammy Award-winning fiddler and raconteur Laurie Lewis and the Right Hands, whose songs pay homage to greats of the past like Lester Flatt, the Stanley Brothers, and Hazel Dickens.\u003c/p>\n\u003ch3>The music goes on\u003c/h3>\n\u003cp>Despite the diminished presence of bluegrass in the festival, Ted Kuster, the San Francisco representative of the California Bluegrass Association and member of local weirdgrass band, the Beauty Operators, says he’s not worried about the future of the traditional scene here. “The difference with bluegrass is the mass of participant listeners,” Kuster says. “And local legends like Laurie Lewis tending the pipeline.\u003c/p>\n\u003cp>Earlier this month, Lewis brought the past, present and future of bluegrass to the stage at the seventh annual Bill Monroe tribute at the Freight and Salvage in Berkeley. With the intimacy and camaraderie of a living room jam, the band and guests took turns with an anthology that every serious bluegrass musician knows by heart.\u003c/p>\n\u003cfigure id=\"attachment_12131480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12131480 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg\" alt=\"Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_4327-e1475101129675-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Lewis and the Right Hands rehearsing for the Bill Monroe Tribute. \u003ccite>(Photo: Kristin Scheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next generation was both reverent and inspired. Oakland’s \u003ca href=\"http://tsisters.com/\" target=\"_blank\" rel=\"noopener\">T Sisters\u003c/a>, channeling Emmylou Harris with their signature “three headed sound,” harmonized a woozy version of the spiritual “Wayfaring Stranger,” and 16-year-old Luke Forrest sang the traditional tune “Molly and Tenbrooks” like he was witnessing the high-stakes horse race at the center of the song first hand.\u003c/p>\n\u003cp>If a fictional song about a 1878 equestrian event can make you feel like something from long ago is still at stake, it is not so hard to believe that old-time music has more to offer a city that celebrates the ever new and recently updated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The 2016 Hardly Strictly Bluegrass Festival\u003c/em> runs Friday, Sep. 30 – Sunday, Oct.2,\u003cstrong> in Golden Gate Park, San Francisco. More information \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And if strictly bluegrass is what you’re after, check out the \u003ca href=\"http://www.shelbyashpresents.net.\" target=\"_blank\" rel=\"noopener\">\u003cem>All Bluegrass After Party\u003c/em>\u003c/a> at The Plough and Stars in San Francisco on Friday, Sep. 30. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Find regular bluegrass jams in San Francisco at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia \u003c/a>on Mondays; the \u003ca href=\"http://www.theluckyhorseshoebar.com\" target=\"_blank\" rel=\"noopener\">Lucky Horseshoe\u003c/a> on Sundays from 4; and \u003ca href=\"http://www.alleycatbookshop.com/events.html\" target=\"_blank\" rel=\"noopener\">Alleycat Books\u003c/a> every fourth Friday. In the East Bay, head to \u003cstrong>\u003ca href=\"http://bajaonpiedmont.com/el-taco-jam/\" target=\"_blank\" rel=\"noopener\">El Taco Jam\u003c/a> at Baja in Oakland on Mondays. \u003ca href=\"http://www.thefreight.org\" target=\"_blank\" rel=\"noopener\">The Freight and Salvage\u003c/a> in Berkeley offers bluegrass performances and workshops, as does the Mountain View Masonic Lodge. \u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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