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"content": "\u003cp>By the beginning of next year, the back section of Berkeley’s Amoeba Music won’t be where you buy jazz records; it will be where you buy “jazz cigarettes.”\u003c/p>\n\u003cp>Joking aside, the decision by the \u003ca href=\"http://www.berkeleyside.com/2016/09/21/berkeley-council-picks-amoeba-apothecarium-as-new-cannabis-dispensaries/\" target=\"_blank\" rel=\"noopener\">Berkeley City Council last week\u003c/a> to award the owners of the Amoeba Music one of the city’s six marijuana dispensary licenses means their flagship store on Telegraph Avenue has a shot at sticking around, says co-owner Marc Weinstein.\u003c/p>\n\u003cp>“This is absolutely going to help save the Berkeley store,” Weinstein says. \u003c/p>\n\u003cp>The Berkeley location will be the first record store in California to house a marijuana dispensary, but Amoeba Music isn’t doing it just to be pioneers in the field. Opened by Weinstein and co-owner David Prinz in 1990, the store, just blocks away from UC Berkeley campus, has been continually losing money for the past eight years; Weinstein says that this year’s sales at that location are less than half what they were in 2008. In the past, this wasn’t dire, as sales at the L.A. and San Francisco stores made up for the Berkeley store’s troubles, but in recent years sales at all three locations have decreased “because the market is shrinking all the time.”\u003c/p>\n\u003cp>“The Berkeley store got a lot slower than the other stores a lot sooner, partially because of the culture that surrounds Telegraph,” Weinstein says. “But also the students in general, especially five to ten years ago, came in, and the new wave was downloading and streaming music. Really, a lot of students don’t understand why anyone would buy a hard copy.” \u003c/p>\n\u003cfigure id=\"attachment_12130902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg\" alt=\"In the jazz section of Amoeba Music in Berkeley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12130902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the jazz section of Amoeba Music in Berkeley \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the rising \u003ca href=\"http://www.nytimes.com/2016/04/12/us/in-california-marijuana-is-smelling-more-like-big-business.html?_r=0\" target=\"_blank\" rel=\"noopener\">profitability of medical marijuana in California\u003c/a>, Amoeba Music has worked with Berkeley city officials and advisers in the pot industry for almost five years to secure a license. Now that they’ve been approved, Amoeba’s owners are working with Debby Goldsberry, executive director at Magnolia Wellness Collective dispensary in Oakland, to create the Berkeley Compassionate Care Collective in the section of the store that currently hosts its jazz, classical and world music sections. The 3,000-square-foot dispensary will sell a wide variety of products, and Weinstein says it will also serve to educate the public about uses and benefits of medical marijuana.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s going to be a full-service, comprehensive dispensary for the neighborhood,” Weinstein says. \u003c/p>\n\u003cp>But it hasn’t been cheap to enter the medical marijuana industry. Amoeba Music has already paid approximately $100,000 just for applying for the license to sell — it didn’t help that they were \u003ca href=\"http://www.berkeleyside.com/2016/05/11/berkeley-names-icann-as-next-cannabis-dispensary/\" target=\"_blank\" rel=\"noopener\">denied a license back in May\u003c/a> — and converting the space into a dispensary is expected to cost them several hundred thousand more. \u003c/p>\n\u003cp>Also, despite the almost-guaranteed profitability of medical marijuana, entering the business for the Amoeba owners is still risky after spending about $5 million on an online digital music store that never came to fruition. Weinstein says the project, which they saw as potentially competing with iTunes and Amazon in terms of the range and amount of downloadable music it would provide, “almost killed” Amoeba and had to be scrapped because they couldn’t strike a licensing deal with the major labels. Also, by the time the store was ready, Weinstein says the market for music downloads had come and went.\u003c/p>\n\u003cfigure id=\"attachment_12131878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg\" alt=\"Marc Weinstein\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12131878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Marc Weinstein \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole market only lasted nine years from beginning to end! Nobody buys digital downloads any more,” Weinstein says. “We literally never had any chance to get footing in that market. We spent millions of dollars on it and lots of resources, and where did it go? Into thin air.” \u003c/p>\n\u003cp>Besides being financially hobbled by an expensive gamble, Amoeba has the challenge of sustaining a business model that is contradictory to what is working for newer record stores. Local chains like 1-2-3-4-Go! and Stranded appear to be thriving because they’re in smaller locations and are smaller-staffed than the larger-sized Amoebas — Weinstein says that the L.A. store alone costs $165,000 a month in rent and employs over 200 workers. Not to say Amoeba’s emporiums are completely doomed, since plenty of customers still regularly shop at all three locations. \u003c/p>\n\u003cp>“We feel that the market for hard copies (of music releases) is going to stay strong for years to come, but it may not be big enough to sustain all of our three big stores,” Weinstein says. “We want to keep an emporium for hard copies in each of the three communities that we care about so much.”\u003c/p>\n\u003cp>If the dispensary succeeds in keeping the Berkeley store afloat, Weinstein says that the other two locations will end up incorporating marijuana dispensaries. (The San Francisco store already has \u003ca href=\"http://hoodline.com/2014/04/amoeba-records-now-your-friendly-local-medical-cannabis-doctor\" target=\"_blank\" rel=\"noopener\">a medical marijuana evaluation office \u003c/a>in its upstairs.) But Weinstein says it’s not just because of the money; he and Prinz strongly support the medical marijuana business in general. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cannabis dispensaries are our first experiment in this business — a business we strongly believe in. We think access to cannabis is a human rights issue, and my partner Dave and I are both very much on the same page,” Weinstein says. “We’re being afforded an opportunity to come into this business with fresh eyes and come up with a new model on Telegraph. We feel the responsibility and we’re hoping to make everyone happy with a model that is strictly Berkeley-style and very much a part of the community.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the beginning of next year, the back section of Berkeley’s Amoeba Music won’t be where you buy jazz records; it will be where you buy “jazz cigarettes.”\u003c/p>\n\u003cp>Joking aside, the decision by the \u003ca href=\"http://www.berkeleyside.com/2016/09/21/berkeley-council-picks-amoeba-apothecarium-as-new-cannabis-dispensaries/\" target=\"_blank\" rel=\"noopener\">Berkeley City Council last week\u003c/a> to award the owners of the Amoeba Music one of the city’s six marijuana dispensary licenses means their flagship store on Telegraph Avenue has a shot at sticking around, says co-owner Marc Weinstein.\u003c/p>\n\u003cp>“This is absolutely going to help save the Berkeley store,” Weinstein says. \u003c/p>\n\u003cp>The Berkeley location will be the first record store in California to house a marijuana dispensary, but Amoeba Music isn’t doing it just to be pioneers in the field. Opened by Weinstein and co-owner David Prinz in 1990, the store, just blocks away from UC Berkeley campus, has been continually losing money for the past eight years; Weinstein says that this year’s sales at that location are less than half what they were in 2008. In the past, this wasn’t dire, as sales at the L.A. and San Francisco stores made up for the Berkeley store’s troubles, but in recent years sales at all three locations have decreased “because the market is shrinking all the time.”\u003c/p>\n\u003cp>“The Berkeley store got a lot slower than the other stores a lot sooner, partially because of the culture that surrounds Telegraph,” Weinstein says. “But also the students in general, especially five to ten years ago, came in, and the new wave was downloading and streaming music. Really, a lot of students don’t understand why anyone would buy a hard copy.” \u003c/p>\n\u003cfigure id=\"attachment_12130902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg\" alt=\"In the jazz section of Amoeba Music in Berkeley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12130902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the jazz section of Amoeba Music in Berkeley \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the rising \u003ca href=\"http://www.nytimes.com/2016/04/12/us/in-california-marijuana-is-smelling-more-like-big-business.html?_r=0\" target=\"_blank\" rel=\"noopener\">profitability of medical marijuana in California\u003c/a>, Amoeba Music has worked with Berkeley city officials and advisers in the pot industry for almost five years to secure a license. Now that they’ve been approved, Amoeba’s owners are working with Debby Goldsberry, executive director at Magnolia Wellness Collective dispensary in Oakland, to create the Berkeley Compassionate Care Collective in the section of the store that currently hosts its jazz, classical and world music sections. The 3,000-square-foot dispensary will sell a wide variety of products, and Weinstein says it will also serve to educate the public about uses and benefits of medical marijuana.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s going to be a full-service, comprehensive dispensary for the neighborhood,” Weinstein says. \u003c/p>\n\u003cp>But it hasn’t been cheap to enter the medical marijuana industry. Amoeba Music has already paid approximately $100,000 just for applying for the license to sell — it didn’t help that they were \u003ca href=\"http://www.berkeleyside.com/2016/05/11/berkeley-names-icann-as-next-cannabis-dispensary/\" target=\"_blank\" rel=\"noopener\">denied a license back in May\u003c/a> — and converting the space into a dispensary is expected to cost them several hundred thousand more. \u003c/p>\n\u003cp>Also, despite the almost-guaranteed profitability of medical marijuana, entering the business for the Amoeba owners is still risky after spending about $5 million on an online digital music store that never came to fruition. Weinstein says the project, which they saw as potentially competing with iTunes and Amazon in terms of the range and amount of downloadable music it would provide, “almost killed” Amoeba and had to be scrapped because they couldn’t strike a licensing deal with the major labels. Also, by the time the store was ready, Weinstein says the market for music downloads had come and went.\u003c/p>\n\u003cfigure id=\"attachment_12131878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg\" alt=\"Marc Weinstein\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12131878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Marc Weinstein \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole market only lasted nine years from beginning to end! Nobody buys digital downloads any more,” Weinstein says. “We literally never had any chance to get footing in that market. We spent millions of dollars on it and lots of resources, and where did it go? Into thin air.” \u003c/p>\n\u003cp>Besides being financially hobbled by an expensive gamble, Amoeba has the challenge of sustaining a business model that is contradictory to what is working for newer record stores. Local chains like 1-2-3-4-Go! and Stranded appear to be thriving because they’re in smaller locations and are smaller-staffed than the larger-sized Amoebas — Weinstein says that the L.A. store alone costs $165,000 a month in rent and employs over 200 workers. Not to say Amoeba’s emporiums are completely doomed, since plenty of customers still regularly shop at all three locations. \u003c/p>\n\u003cp>“We feel that the market for hard copies (of music releases) is going to stay strong for years to come, but it may not be big enough to sustain all of our three big stores,” Weinstein says. “We want to keep an emporium for hard copies in each of the three communities that we care about so much.”\u003c/p>\n\u003cp>If the dispensary succeeds in keeping the Berkeley store afloat, Weinstein says that the other two locations will end up incorporating marijuana dispensaries. (The San Francisco store already has \u003ca href=\"http://hoodline.com/2014/04/amoeba-records-now-your-friendly-local-medical-cannabis-doctor\" target=\"_blank\" rel=\"noopener\">a medical marijuana evaluation office \u003c/a>in its upstairs.) But Weinstein says it’s not just because of the money; he and Prinz strongly support the medical marijuana business in general. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cannabis dispensaries are our first experiment in this business — a business we strongly believe in. We think access to cannabis is a human rights issue, and my partner Dave and I are both very much on the same page,” Weinstein says. “We’re being afforded an opportunity to come into this business with fresh eyes and come up with a new model on Telegraph. We feel the responsibility and we’re hoping to make everyone happy with a model that is strictly Berkeley-style and very much a part of the community.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you were among the \u003ca href=\"http://www.nytimes.com/2016/09/28/business/media/at-nearly-84-million-viewers-debate-may-be-the-most-watched-ever.html?_r=0\" target=\"_blank\">84 million viewers \u003c/a>who tuned in Monday night to watch the surrealist 90-minute\u003ca href=\"http://www.pbs.org/newshour/rundown/for-many-women-watching-trump-interrupt-clinton-51-times-was-unnerving-but-familiar/\" target=\"_blank\"> interruption-fest\u003c/a>/Gender Politics 101 course that was the first presidential debate, chances are you found yourself cringing more than a handful of times. No matter your political orientation, it contained moments that were -- well, let's be diplomatic and say \"less than artful.\"\u003c/p>\n\u003cp>Luckily, we have the internet. In confusing times like these, the internet promises to make sense out of the nonsensical, or at least round up \u003ca href=\"https://www.wired.com/2016/09/first-debate-best-tweets/\" target=\"_blank\">the funniest tweets about it\u003c/a>.\u003c/p>\n\u003cp>In that same spirit of \"maybe if we make fun of this situation it will stop being so deeply terrifying,\" the Gregory Brothers -- best known for their work \u003ca href=\"https://www.youtube.com/watch?v=Vegd7EPdOss\" target=\"_blank\">Auto-Tuning the news\u003c/a>, as well as that \u003ca href=\"http://www.vanityfair.com/hollywood/2015/03/unbreakable-kimmy-schmidt-theme-song\" target=\"_blank\">earworm of a theme song for \u003cem>Unbreakable Kimmy Schmidt\u003c/em>\u003c/a> -- seemingly worked around the clock immediately following the debate to produce the following, truly inspirational ditty.\u003c/p>\n\u003cp>With a little help from Blondie's Debbie Harry and Chris Stein filling in for moderator Lester Holt, it's no surprise that this two-and-a-half-minute song immediately surpasses the actual debate in terms of enjoyability. I'll say that I, for one, have certainly never liked the sound of the name \"Sean Hannity\" quite as much as I do here. (Or, you know, at all.)\u003c/p>\n\u003cp>In any event: Give it a watch below. Take some deep breaths with me. Maybe by the time the second debate rolls around (Sunday, Oct. 9), we will all have collectively unclenched our teeth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=95AR87ciruc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were among the \u003ca href=\"http://www.nytimes.com/2016/09/28/business/media/at-nearly-84-million-viewers-debate-may-be-the-most-watched-ever.html?_r=0\" target=\"_blank\">84 million viewers \u003c/a>who tuned in Monday night to watch the surrealist 90-minute\u003ca href=\"http://www.pbs.org/newshour/rundown/for-many-women-watching-trump-interrupt-clinton-51-times-was-unnerving-but-familiar/\" target=\"_blank\"> interruption-fest\u003c/a>/Gender Politics 101 course that was the first presidential debate, chances are you found yourself cringing more than a handful of times. No matter your political orientation, it contained moments that were -- well, let's be diplomatic and say \"less than artful.\"\u003c/p>\n\u003cp>Luckily, we have the internet. In confusing times like these, the internet promises to make sense out of the nonsensical, or at least round up \u003ca href=\"https://www.wired.com/2016/09/first-debate-best-tweets/\" target=\"_blank\">the funniest tweets about it\u003c/a>.\u003c/p>\n\u003cp>In that same spirit of \"maybe if we make fun of this situation it will stop being so deeply terrifying,\" the Gregory Brothers -- best known for their work \u003ca href=\"https://www.youtube.com/watch?v=Vegd7EPdOss\" target=\"_blank\">Auto-Tuning the news\u003c/a>, as well as that \u003ca href=\"http://www.vanityfair.com/hollywood/2015/03/unbreakable-kimmy-schmidt-theme-song\" target=\"_blank\">earworm of a theme song for \u003cem>Unbreakable Kimmy Schmidt\u003c/em>\u003c/a> -- seemingly worked around the clock immediately following the debate to produce the following, truly inspirational ditty.\u003c/p>\n\u003cp>With a little help from Blondie's Debbie Harry and Chris Stein filling in for moderator Lester Holt, it's no surprise that this two-and-a-half-minute song immediately surpasses the actual debate in terms of enjoyability. I'll say that I, for one, have certainly never liked the sound of the name \"Sean Hannity\" quite as much as I do here. (Or, you know, at all.)\u003c/p>\n\u003cp>In any event: Give it a watch below. Take some deep breaths with me. Maybe by the time the second debate rolls around (Sunday, Oct. 9), we will all have collectively unclenched our teeth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Long, Strange History of Campaign Endorsement Songs",
"headTitle": "The Long, Strange History of Campaign Endorsement Songs | KQED",
"content": "\u003cp>The political endorsement song is a strange beast. It’s something more than just a campaign anthem — the kind of track that pumps up rally audiences before a candidate’s entrance onstage. Instead, this kind of tune is an odd hybrid: part commercial jingle, part aspirational anthem and, with nearly no exceptions, a soon-forgotten novelty. (One outlier: the sturdy Whig song “Tippecanoe and Tyler Too” from the 1840 presidential campaign, which was most recently resurrected by \u003ca href=\"https://www.youtube.com/watch?v=IFaRklAYanY\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> in 2004.)\u003c/p>\n\u003cp>Certain politicians undoubtedly find it easier than others to get star singers and songwriters to pen and perform original tunes for them. Occasionally, the candidate just has to fall back on pre-existing material, as Mitt Romney did. And sometimes, candidates wind up with old songs reworked for political ends — like the unmistakably buoyant “High Hopes,” with new lyrics that celebrated JFK in 1960.\u003c/p>\n\u003cp>But some of the most interesting selections from U.S. history are the more singular ones. “Nixon’s The One,” anyone? How about a funk-drenched paean to Jimmy Carter? In any case, with the first presidential debate of 2016 happening this evening, we wanted to revisit some of our favorite endorsement-song finds.\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=lHRTCVwSKMs\u003c/p>\n\u003ch3>Frank Sinatra, “High Hopes”\u003c/h3>\n\u003cp>The 1959 Frank Capra film \u003ca href=\"http://www.tcm.com/mediaroom/video/196092/Hole-In-The-Head-A-Original-Trailer-.html\" target=\"_blank\" rel=\"noopener\">\u003cem>A Hole in the Head\u003c/em>\u003c/a> is a strange time capsule — not least because its premise is that Miami’s South Beach is so slow-moving that a theme park could be plopped down there. Its most enduring aspect is the Oscar-winning song “\u003ca href=\"http://www.tcm.com/mediaroom/video/198770/Hole-in-the-Head-A-Movie-Clip-High-Hopes.html\" target=\"_blank\" rel=\"noopener\">High Hopes\u003c/a>,” which leading man Frank Sinatra and songwriters Sammy Cahn and \u003ca href=\"https://www.youtube.com/watch?v=XREVcBhQ1xE\" target=\"_blank\" rel=\"noopener\">Jimmy Van Heusen adapted\u003c/a> for John F. Kennedy’s 1960 campaign. JFK also had a more \u003ca href=\"https://www.youtube.com/watch?v=7DoUiNxh6_0\" target=\"_blank\" rel=\"noopener\">traditional jingle\u003c/a>, but the star power and extreme catchiness of “High Hopes” made it unforgettable: “Come on and vote for Kennedy … and we’ll come out on top! Oops, there goes the opposition — kerplop!” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=qKMvvPQU38U\u003c/p>\n\u003ch3>Connie Francis, “Nixon’s The One”\u003c/h3>\n\u003cp>With lyrics by Alvin Cooperman and music by Moose Charlap — the composer of the Broadway musical \u003cem>Peter Pan\u003c/em> and father of jazz pianist \u003ca href=\"http://www.npr.org/artists/15343365/bill-charlap\">Bill Charlap\u003c/a> — “Nixon’s The One” bears a peppy, upbeat and thoroughly wholesome, big band-backed message for the 1968 campaign. The Nixon/Humphrey race took place in the same year as the assassinations of Martin Luther King, Jr. and Robert Kennedy, civil rights protests, urban unrest and rioting, and during polarizing debate about the Vietnam War. But this sunny endorsement song was, culturally and sonically, a throwback to an earlier era — a perfect fit for Nixon as the law-and-order candidate for voters longing for an age already long gone: “Can do / Americans can do / with the man who knows how to / Yes, Nixon’s the one to go with!” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=kWF9qZb6y64\u003c/p>\n\u003ch3>Gene Marshall, “Jimmy Carter Says ‘Yes'”\u003c/h3>\n\u003cp>After the Bicentennial frenzy of 1976, the most memorable musical moments of the presidential campaign may have been the benefits that the Allman Brothers Band \u003ca href=\"http://www.rollingstone.com/politics/news/candidate-jimmy-carter-rocks-good-ol-boy-19751204\" target=\"_blank\" rel=\"noopener\">played\u003c/a> for Jimmy Carter, the governor of their adopted home state. (Next to “Midnight Rider” and “Whipping Post,” Gerald Ford’s \u003ca href=\"https://www.youtube.com/watch?v=N9SVr4uTtFo\" target=\"_blank\" rel=\"noopener\">Up With People-style jingle\u003c/a> was bound to sound especially bland.) But one of the most entertaining artifacts of the era is this pro-am slow jam about Carter’s upstanding nature. “Jimmy Carter Says ‘Yes'” is a “song-poem” — a song cranked out by studio musicians from words mailed in by an aspiring lyricist willing to pay a modest fee. Carter may have received more elaborate \u003ca href=\"https://www.youtube.com/watch?v=UwEUCMrI2aQ\" target=\"_blank\" rel=\"noopener\">musical tributes\u003c/a>, but none as charmingly funky: “Can our government be competent? Jimmy Carter says, ‘Yes!'” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=qmKgITJejfg\u003c/p>\n\u003ch3>John Rich, “Raisin’ McCain”\u003c/h3>\n\u003cp>Music touting failed candidates can take on retroactive wistfulness. Sometimes, it’s as modest as the \u003ca href=\"https://www.youtube.com/watch?v=cLvNm7j-L2U\" target=\"_blank\" rel=\"noopener\">cabaret number\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=MxYDTTNYMic\" target=\"_blank\" rel=\"noopener\">Christmas carol adaptation\u003c/a> from the 1952 Adlai Stevenson campaign. Other times, it’s as grand as \u003ca href=\"https://www.c-span.org/video/?c4453714/john-williams-fanfare-michael-dukakis\" target=\"_blank\" rel=\"noopener\">John Williams’ fanfare\u003c/a> for 1988 Democratic nominee Michael Dukakis. The 2008 video for “Raisin’ McCain” by John Rich of Big & Rich is a straightforward country rocker — featuring an “American guitar” solo — that manages to weave in the Republican nominee’s time as a prisoner of war as women in the crowd dance enthusiastically: “Well, he got shot down in a Vietnam town, fighting for the red, white and blue / And they locked him up in the Hanoi Hilton, thinking they could break him in two…” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=bu3rsha1ZtI\u003c/p>\n\u003ch3>Kid Rock, “Born Free”\u003c/h3>\n\u003cp>While Kid Rock didn’t write the anthemic “Born Free” explicitly for Mitt Romney, he was happy to let the GOP use it as their 2012 song for the former Massachusetts governor. “I was like, ‘Yeah, go ahead,'” the singer \u003ca href=\"http://www.mtv.com/news/1695488/kid-rock-mitt-romney-born-free/\" target=\"_blank\" rel=\"noopener\">told MTV\u003c/a> that year. “I make music to have people hear it, and I’m not about to dictate at what level they want to listen or hear it at; that doesn’t matter to me. I mean, yeah, I’m a little right-wing, you know, I’m going to vote for Mitt Romney … but if you’re not, it’s OK.” According to an interview Mitt and Ann Romney gave to \u003cem>\u003ca href=\"http://parade.com/124656/lynnsherr/26-conversation-with-the-romneys/\" target=\"_blank\" rel=\"noopener\">Parade\u003c/a>\u003c/em> magazine that August, their personal tastes in music generally ran a little more old-school, to the likes of The Beach Boys, Alabama and The Eagles, with one contemporary curveball: The Killers. But Kid Rock’s song reflected bedrock Americana: “Deep, like the grandest canyon / Wild, like an untamed stallion / If you can’t see my heart, you must be blind.” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=KWqn0VORmvU\u003c/p>\n\u003ch3>Vicente Fernández, “El Corrido de Hillary Clinton”\u003c/h3>\n\u003cp>Just last week, one of Mexico’s most beloved artists, the \u003cem>ranchero\u003c/em> legend \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/08/23/488502412/in-mariachi-music-a-distinctive-yell-speaks-to-the-soul\" target=\"_blank\" rel=\"noopener\">Vicente Fernández\u003c/a>, released a \u003cem>corrido (\u003c/em>narrative song) urging his fans to vote for Hillary Clinton. Fernández doesn’t name-check Donald Trump in his tune, which he released via the PAC Latino Victory Project, nor does he directly address Trump’s platforms on such topics as immigration, jobs or trade. But he also doesn’t shy away from tossing some obvious shade Trump’s way: “My freedom, my rights, are respected with Hillary,” Fernández sings. “With her as president, we always have a bridge.” —\u003cem>Anastasia Tsioulcas\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Long%2C+Strange+History+Of+Campaign+Endorsement+Songs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "From \"Nixon's The One\" To \"El Corrido de Hillary Clinton,\" an odd subgenre of music raises its head every four years: the endorsement song. It's part commercial jingle, part aspirational anthem.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The political endorsement song is a strange beast. It’s something more than just a campaign anthem — the kind of track that pumps up rally audiences before a candidate’s entrance onstage. Instead, this kind of tune is an odd hybrid: part commercial jingle, part aspirational anthem and, with nearly no exceptions, a soon-forgotten novelty. (One outlier: the sturdy Whig song “Tippecanoe and Tyler Too” from the 1840 presidential campaign, which was most recently resurrected by \u003ca href=\"https://www.youtube.com/watch?v=IFaRklAYanY\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> in 2004.)\u003c/p>\n\u003cp>Certain politicians undoubtedly find it easier than others to get star singers and songwriters to pen and perform original tunes for them. Occasionally, the candidate just has to fall back on pre-existing material, as Mitt Romney did. And sometimes, candidates wind up with old songs reworked for political ends — like the unmistakably buoyant “High Hopes,” with new lyrics that celebrated JFK in 1960.\u003c/p>\n\u003cp>But some of the most interesting selections from U.S. history are the more singular ones. “Nixon’s The One,” anyone? How about a funk-drenched paean to Jimmy Carter? In any case, with the first presidential debate of 2016 happening this evening, we wanted to revisit some of our favorite endorsement-song finds.\u003c/p>\n\u003chr>\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/lHRTCVwSKMs'\n title='//www.youtube.com/embed/lHRTCVwSKMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Frank Sinatra, “High Hopes”\u003c/h3>\n\u003cp>The 1959 Frank Capra film \u003ca href=\"http://www.tcm.com/mediaroom/video/196092/Hole-In-The-Head-A-Original-Trailer-.html\" target=\"_blank\" rel=\"noopener\">\u003cem>A Hole in the Head\u003c/em>\u003c/a> is a strange time capsule — not least because its premise is that Miami’s South Beach is so slow-moving that a theme park could be plopped down there. Its most enduring aspect is the Oscar-winning song “\u003ca href=\"http://www.tcm.com/mediaroom/video/198770/Hole-in-the-Head-A-Movie-Clip-High-Hopes.html\" target=\"_blank\" rel=\"noopener\">High Hopes\u003c/a>,” which leading man Frank Sinatra and songwriters Sammy Cahn and \u003ca href=\"https://www.youtube.com/watch?v=XREVcBhQ1xE\" target=\"_blank\" rel=\"noopener\">Jimmy Van Heusen adapted\u003c/a> for John F. Kennedy’s 1960 campaign. JFK also had a more \u003ca href=\"https://www.youtube.com/watch?v=7DoUiNxh6_0\" target=\"_blank\" rel=\"noopener\">traditional jingle\u003c/a>, but the star power and extreme catchiness of “High Hopes” made it unforgettable: “Come on and vote for Kennedy … and we’ll come out on top! Oops, there goes the opposition — kerplop!” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/qKMvvPQU38U'\n title='//www.youtube.com/embed/qKMvvPQU38U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Connie Francis, “Nixon’s The One”\u003c/h3>\n\u003cp>With lyrics by Alvin Cooperman and music by Moose Charlap — the composer of the Broadway musical \u003cem>Peter Pan\u003c/em> and father of jazz pianist \u003ca href=\"http://www.npr.org/artists/15343365/bill-charlap\">Bill Charlap\u003c/a> — “Nixon’s The One” bears a peppy, upbeat and thoroughly wholesome, big band-backed message for the 1968 campaign. The Nixon/Humphrey race took place in the same year as the assassinations of Martin Luther King, Jr. and Robert Kennedy, civil rights protests, urban unrest and rioting, and during polarizing debate about the Vietnam War. But this sunny endorsement song was, culturally and sonically, a throwback to an earlier era — a perfect fit for Nixon as the law-and-order candidate for voters longing for an age already long gone: “Can do / Americans can do / with the man who knows how to / Yes, Nixon’s the one to go with!” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\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/kWF9qZb6y64'\n title='//www.youtube.com/embed/kWF9qZb6y64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Gene Marshall, “Jimmy Carter Says ‘Yes'”\u003c/h3>\n\u003cp>After the Bicentennial frenzy of 1976, the most memorable musical moments of the presidential campaign may have been the benefits that the Allman Brothers Band \u003ca href=\"http://www.rollingstone.com/politics/news/candidate-jimmy-carter-rocks-good-ol-boy-19751204\" target=\"_blank\" rel=\"noopener\">played\u003c/a> for Jimmy Carter, the governor of their adopted home state. (Next to “Midnight Rider” and “Whipping Post,” Gerald Ford’s \u003ca href=\"https://www.youtube.com/watch?v=N9SVr4uTtFo\" target=\"_blank\" rel=\"noopener\">Up With People-style jingle\u003c/a> was bound to sound especially bland.) But one of the most entertaining artifacts of the era is this pro-am slow jam about Carter’s upstanding nature. “Jimmy Carter Says ‘Yes'” is a “song-poem” — a song cranked out by studio musicians from words mailed in by an aspiring lyricist willing to pay a modest fee. Carter may have received more elaborate \u003ca href=\"https://www.youtube.com/watch?v=UwEUCMrI2aQ\" target=\"_blank\" rel=\"noopener\">musical tributes\u003c/a>, but none as charmingly funky: “Can our government be competent? Jimmy Carter says, ‘Yes!'” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/qmKgITJejfg'\n title='//www.youtube.com/embed/qmKgITJejfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>John Rich, “Raisin’ McCain”\u003c/h3>\n\u003cp>Music touting failed candidates can take on retroactive wistfulness. Sometimes, it’s as modest as the \u003ca href=\"https://www.youtube.com/watch?v=cLvNm7j-L2U\" target=\"_blank\" rel=\"noopener\">cabaret number\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=MxYDTTNYMic\" target=\"_blank\" rel=\"noopener\">Christmas carol adaptation\u003c/a> from the 1952 Adlai Stevenson campaign. Other times, it’s as grand as \u003ca href=\"https://www.c-span.org/video/?c4453714/john-williams-fanfare-michael-dukakis\" target=\"_blank\" rel=\"noopener\">John Williams’ fanfare\u003c/a> for 1988 Democratic nominee Michael Dukakis. The 2008 video for “Raisin’ McCain” by John Rich of Big & Rich is a straightforward country rocker — featuring an “American guitar” solo — that manages to weave in the Republican nominee’s time as a prisoner of war as women in the crowd dance enthusiastically: “Well, he got shot down in a Vietnam town, fighting for the red, white and blue / And they locked him up in the Hanoi Hilton, thinking they could break him in two…” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/bu3rsha1ZtI'\n title='//www.youtube.com/embed/bu3rsha1ZtI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kid Rock, “Born Free”\u003c/h3>\n\u003cp>While Kid Rock didn’t write the anthemic “Born Free” explicitly for Mitt Romney, he was happy to let the GOP use it as their 2012 song for the former Massachusetts governor. “I was like, ‘Yeah, go ahead,'” the singer \u003ca href=\"http://www.mtv.com/news/1695488/kid-rock-mitt-romney-born-free/\" target=\"_blank\" rel=\"noopener\">told MTV\u003c/a> that year. “I make music to have people hear it, and I’m not about to dictate at what level they want to listen or hear it at; that doesn’t matter to me. I mean, yeah, I’m a little right-wing, you know, I’m going to vote for Mitt Romney … but if you’re not, it’s OK.” According to an interview Mitt and Ann Romney gave to \u003cem>\u003ca href=\"http://parade.com/124656/lynnsherr/26-conversation-with-the-romneys/\" target=\"_blank\" rel=\"noopener\">Parade\u003c/a>\u003c/em> magazine that August, their personal tastes in music generally ran a little more old-school, to the likes of The Beach Boys, Alabama and The Eagles, with one contemporary curveball: The Killers. But Kid Rock’s song reflected bedrock Americana: “Deep, like the grandest canyon / Wild, like an untamed stallion / If you can’t see my heart, you must be blind.” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\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/KWqn0VORmvU'\n title='//www.youtube.com/embed/KWqn0VORmvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Vicente Fernández, “El Corrido de Hillary Clinton”\u003c/h3>\n\u003cp>Just last week, one of Mexico’s most beloved artists, the \u003cem>ranchero\u003c/em> legend \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/08/23/488502412/in-mariachi-music-a-distinctive-yell-speaks-to-the-soul\" target=\"_blank\" rel=\"noopener\">Vicente Fernández\u003c/a>, released a \u003cem>corrido (\u003c/em>narrative song) urging his fans to vote for Hillary Clinton. Fernández doesn’t name-check Donald Trump in his tune, which he released via the PAC Latino Victory Project, nor does he directly address Trump’s platforms on such topics as immigration, jobs or trade. But he also doesn’t shy away from tossing some obvious shade Trump’s way: “My freedom, my rights, are respected with Hillary,” Fernández sings. “With her as president, we always have a bridge.” —\u003cem>Anastasia Tsioulcas\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Long%2C+Strange+History+Of+Campaign+Endorsement+Songs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Rolling Stone' Sells Minority Share of Magazine to Singapore Entrepreneur",
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"content": "\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have the quality that most matters, a brand that means something to people and elicits an emotional response,” said Wenner, the son of Jann Wenner, who founded the magazine in 1967.\u003c/p>\n\u003cp>BandLab was founded by Kuok Meng Ru, the son of agribusiness billionaire Kuok Khoon Hong. It is funded by private investors, including Kuok’s father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What has happened last 49 years has already shown that \u003cem>Rolling Stone\u003c/em> is more than a brand to people,” Kuok said in a \u003cem>Bloomberg\u003c/em> interview. “It is now our shared responsibility to take it into the future.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Rolling+Stone%27+Sells+Minority+Share+Of+Magazine+To+Singapore+Entrepreneur&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have the quality that most matters, a brand that means something to people and elicits an emotional response,” said Wenner, the son of Jann Wenner, who founded the magazine in 1967.\u003c/p>\n\u003cp>BandLab was founded by Kuok Meng Ru, the son of agribusiness billionaire Kuok Khoon Hong. It is funded by private investors, including Kuok’s father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What has happened last 49 years has already shown that \u003cem>Rolling Stone\u003c/em> is more than a brand to people,” Kuok said in a \u003cem>Bloomberg\u003c/em> interview. “It is now our shared responsibility to take it into the future.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Rolling+Stone%27+Sells+Minority+Share+Of+Magazine+To+Singapore+Entrepreneur&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
"title": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/284755246\" 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>\u003cstrong>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O8QqiJesJwY\u003c/p>\n\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\u003c/p>\n\u003cp>https://youtu.be/z4EEuupp_eY?t=31s\u003c/p>\n\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/284755246&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/284755246'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O8QqiJesJwY'\n title='//www.youtube.com/embed/O8QqiJesJwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\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/z4EEuupp_eY'\n title='//www.youtube.com/embed/z4EEuupp_eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the 1960s, Choi Eun Hee and Shin Sang Ok were South Korean cinema’s first couple. She was a movie star, he was an acclaimed director, and life with their two young children was considered glamorous. Then things got complicated.\u003c/p>\n\u003cp>Shin had two kids with a younger actress, and his financially struggling production company was shuttered by the government. He and Choi divorced, and in 1978 the actress vanished. Later the same year, Shin also disappeared.\u003c/p>\n\u003cp>Next stop, North Korea. Choi was kidnapped from Hong Kong on the orders of dictator-in-waiting Kim Jong Il, a movie buff who hoped his country’s films could become more mainstream and entertaining.\u003c/p>\n\u003cp>Shin was also snatched from Hong Kong, it seems, although his story is murkier. \u003cem>The Lovers and the Despot\u003c/em>, British filmmakers Rob Cannan and Ross Adam’s documentary, capably recounts the main facts of the case, but doesn’t illuminate its darker corners.\u003c/p>\n\u003cp>For those unfamiliar with Choi and Shin, this is a lively introduction. The film follows the abductees to Pyongyang, where they eventually became a couple again. The movies they made in the North are largely unknown elsewhere, but one has become something of a cult item: \u003cem>Pulgasari\u003c/em> is a \u003cem>Godzilla\u003c/em>-like flick about a monster that grows bigger from eating iron. It’s anti-war and anti-authoritarian, Shin has said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choi and Shin became members of Kim Jong Il’s inner circle, although the actress initially had an easier time than her ex-husband, who spent more than four years in a prison where grass was a large part of his diet. (Kim Jong Il told Shin his jailing was a “misunderstanding.”)\u003c/p>\n\u003cp>The two captives were allowed to travel for film festivals. That enabled them in 1986 to visit Vienna, where they made a sprint for the American Embassy.\u003c/p>\n\u003cp>They came to the U.S. bearing gifts: Choi had secretly taped conversations with Kim Jong Il, a man who didn’t deliver public speeches. The West’s North Korea-watchers had never even heard his voice. Now \u003cem>The Lovers and the Despot\u003c/em>‘s viewers can hear it, too.\u003c/p>\n\u003cp>The couple landed in Hollywood, where Shin directed one and produced four movies in the \u003cem>Three Ninjas\u003c/em> kiddie-action series, under the name Simon S. Sheen. Then came a return to South Korea, where Choi still lives. Shin died in 2006.\u003c/p>\n\u003cp>Although Cannan and Adam filmed re-enactments of some real-life spy-movie moments, they rely on primary sources wherever possible. The couple’s adult children are interviewed, and the movie relies heavily on Choi, who’s now 89.\u003c/p>\n\u003cp>Her recollections aren’t second-guessed, even when she says that in North Korea Shin made 17 movies in less than 2 1/2 years. When I interviewed Shin in 2005, he said there were seven, which is the generally accepted number.\u003c/p>\n\u003cp>Perhaps because the filmmakers couldn’t interview Shin, the movie doesn’t attempt to untangle his knotty story. Many Koreans doubted he had been kidnapped, although that was based largely on circumstantial suspicions of disloyalty: Shin was born in what became North Korea, and studied in 1940s Japan, when Korea was a Japanese colony. He was an admirer of postwar Japanese films, which were banned in South Korea.\u003c/p>\n\u003cp>In 1978, South Korea was not a democratic country, and some of Shin’s problems there were political. When he disappeared, the KCIA (what is now known as South Korea’s National Intelligence Service) was a suspect. Still, there’s no evidence that Shin went voluntarily to the North.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Shin remains something of missing person in \u003cem>The Lovers and the Despot\u003c/em>, it’s apt that the film focuses on Choi. She was an actress, after all, and the film suggests that successfully playing the role of Kim Jong Il’s pal was the role of her lifetime. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Korean+Celebrity+Couple+Kidnapped+By+Kim+Jong+Il%3A+%27The+Lovers+And+The+Despot%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1960s, Choi Eun Hee and Shin Sang Ok were South Korean cinema’s first couple. She was a movie star, he was an acclaimed director, and life with their two young children was considered glamorous. Then things got complicated.\u003c/p>\n\u003cp>Shin had two kids with a younger actress, and his financially struggling production company was shuttered by the government. He and Choi divorced, and in 1978 the actress vanished. Later the same year, Shin also disappeared.\u003c/p>\n\u003cp>Next stop, North Korea. Choi was kidnapped from Hong Kong on the orders of dictator-in-waiting Kim Jong Il, a movie buff who hoped his country’s films could become more mainstream and entertaining.\u003c/p>\n\u003cp>Shin was also snatched from Hong Kong, it seems, although his story is murkier. \u003cem>The Lovers and the Despot\u003c/em>, British filmmakers Rob Cannan and Ross Adam’s documentary, capably recounts the main facts of the case, but doesn’t illuminate its darker corners.\u003c/p>\n\u003cp>For those unfamiliar with Choi and Shin, this is a lively introduction. The film follows the abductees to Pyongyang, where they eventually became a couple again. The movies they made in the North are largely unknown elsewhere, but one has become something of a cult item: \u003cem>Pulgasari\u003c/em> is a \u003cem>Godzilla\u003c/em>-like flick about a monster that grows bigger from eating iron. It’s anti-war and anti-authoritarian, Shin has said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Choi and Shin became members of Kim Jong Il’s inner circle, although the actress initially had an easier time than her ex-husband, who spent more than four years in a prison where grass was a large part of his diet. (Kim Jong Il told Shin his jailing was a “misunderstanding.”)\u003c/p>\n\u003cp>The two captives were allowed to travel for film festivals. That enabled them in 1986 to visit Vienna, where they made a sprint for the American Embassy.\u003c/p>\n\u003cp>They came to the U.S. bearing gifts: Choi had secretly taped conversations with Kim Jong Il, a man who didn’t deliver public speeches. The West’s North Korea-watchers had never even heard his voice. Now \u003cem>The Lovers and the Despot\u003c/em>‘s viewers can hear it, too.\u003c/p>\n\u003cp>The couple landed in Hollywood, where Shin directed one and produced four movies in the \u003cem>Three Ninjas\u003c/em> kiddie-action series, under the name Simon S. Sheen. Then came a return to South Korea, where Choi still lives. Shin died in 2006.\u003c/p>\n\u003cp>Although Cannan and Adam filmed re-enactments of some real-life spy-movie moments, they rely on primary sources wherever possible. The couple’s adult children are interviewed, and the movie relies heavily on Choi, who’s now 89.\u003c/p>\n\u003cp>Her recollections aren’t second-guessed, even when she says that in North Korea Shin made 17 movies in less than 2 1/2 years. When I interviewed Shin in 2005, he said there were seven, which is the generally accepted number.\u003c/p>\n\u003cp>Perhaps because the filmmakers couldn’t interview Shin, the movie doesn’t attempt to untangle his knotty story. Many Koreans doubted he had been kidnapped, although that was based largely on circumstantial suspicions of disloyalty: Shin was born in what became North Korea, and studied in 1940s Japan, when Korea was a Japanese colony. He was an admirer of postwar Japanese films, which were banned in South Korea.\u003c/p>\n\u003cp>In 1978, South Korea was not a democratic country, and some of Shin’s problems there were political. When he disappeared, the KCIA (what is now known as South Korea’s National Intelligence Service) was a suspect. Still, there’s no evidence that Shin went voluntarily to the North.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Shin remains something of missing person in \u003cem>The Lovers and the Despot\u003c/em>, it’s apt that the film focuses on Choi. She was an actress, after all, and the film suggests that successfully playing the role of Kim Jong Il’s pal was the role of her lifetime. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Korean+Celebrity+Couple+Kidnapped+By+Kim+Jong+Il%3A+%27The+Lovers+And+The+Despot%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World",
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"headTitle": "Cy and David’s Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/284193182″ 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\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=lxEsC8wTO6Y\u003c/p>\n\u003cp>\u003cstrong>Sept. 29:\u003c/strong> Another great American composer known for groundbreaking work in minimalism is turning 80. We mentioned Steve Reich \u003ca href=\"https://ww2.kqed.org/arts/2016/09/01/cy-and-davids-picks-an-icon-of-minimalism-a-standup-politician-and-a-cure-for-those-post-labor-day-back-to-work-blues/\" target=\"_blank\" rel=\"noopener\">a few weeks ago\u003c/a> — now it’s\u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\"> Philip Glass\u003c/a>’ turn. And you can celebrate his still-dexterous fingers as he joins four other pianists to play all 20 of Glass’ piano études. He’s working with a terrific team, including the Bay Area’s \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\"> Sarah Cahill, \u003c/a>jazz pianist \u003ca href=\"http://www.aarondiehl.com/\" target=\"_blank\" rel=\"noopener\">Aaron Diehl\u003c/a>, and Jenny Lin. Glass does a pre-show chat with Stanford Live’s executive director Chris Lorway; I hope he talks about his days driving cab in New York. Tickets for this Bing Hall Concert are scarce, so act fast. Details \u003ca href=\"https://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12104803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg\" alt=\"Richard Clifford and Derek Jacobi in 'Measure and Dido' coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Clifford and Derek Jacobi in ‘Measure and Dido’ coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State \u003ccite>(Photo: Courtesy of Folger Shakespeare Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 24 and 25\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Derek_Jacobi\" target=\"_blank\" rel=\"noopener\">Derek Jacobi \u003c/a>could have retired after making \u003cem>\u003ca href=\"http://www.pbs.org/wgbh/masterpiece/archive/39/39.html\" target=\"_blank\" rel=\"noopener\">I, Claudius\u003c/a>\u003c/em> in 1976, and people would still be talking about how good he was in that BBC series. But he’s still working (\u003ca href=\"http://www.pbs.org/program/vicious/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious\u003c/em>\u003c/a> with Ian McKellen), and he’s the biggest star in a touring show from the Folger Shakespeare Library, a fascinating mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> with Purcell’s opera \u003cem>Dido and Aeneas\u003c/em>. Jacobi stars with his partner \u003ca href=\"http://www.imdb.com/name/nm0166678/\" target=\"_blank\" rel=\"noopener\">Richard Clifford\u003c/a>, who also directs the show, and musicians of the Folger Consort. This is a coup for the North Bay. The \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Center\u003c/a> in Yountville gets the world premiere, Saturday. Details \u003ca href=\"http://lincolntheater.com/vbo/?page=selectevent&eid=14227&edid=0\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then \u003ca href=\"http://gmc.sonoma.edu/events-by-date\" target=\"_blank\" rel=\"noopener\">Weill Hall \u003c/a>at Sonoma State in Rohnert Park gets the second performance. Details \u003ca href=\"http://gmc.sonoma.edu/event/3156910-shakespeare-s-400th-excerpts-from-measure-for\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w-YaWE0zu-c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-Oct. 9\u003c/strong>: A musical adaptation of \u003cem>Pride and Prejudice\u003c/em>. Is Jane Austen rolling in her grave? Well, at least there are no zombies. This production from the scrappy \u003ca href=\"http://iamtheatre.org/\" target=\"_blank\" rel=\"noopener\">IAM Theatre\u003c/a> is also a chance to support a local favorite. The songs in \u003cem>Pride and Prejudice the Musical \u003c/em>are by \u003ca href=\"http://www.ritaabrams.com/\" target=\"_blank\" rel=\"noopener\">Rita Abrams\u003c/a>, the former Mill Valley schoolteacher priced out of town a few years ago, and the composer of the hit song “Mill Valley.” Details for this North American premiere are \u003ca href=\"http://www.prideandprejudicemusical.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qS2MJwmBB5Y\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-25\u003c/strong>: The \u003ca href=\"http://www.dresherensemble.org/\" target=\"_blank\" rel=\"noopener\">Paul Dresher Ensemble \u003c/a>is always pushing the boundaries of music and theater. This time, they’ve enlisted percussionist \u003ca href=\"http://sfcmp.org/steven-schick/\" target=\"_blank\" rel=\"noopener\">Steven Schick \u003c/a>(artistic director for the San Francisco Contemporary Music Players) to shake and bang on a battery of one-of-a-kind instruments in what they’re calling “Schick Experiment,” directed by \u003ca href=\"http://www.rindeeckert.com/\" target=\"_blank\" rel=\"noopener\">Rinde Eckert. \u003c/a>The instruments are as expressive as Schick himself: everything from a piece of sheet metal on a pogo stick to the Hurdy Grande, the Field of Flowers, and the Peacock (a deconstructed pipe organ). The idea seems to be to have fun with sound. We radio people applaud. Details \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/18516286\u003c/p>\n\u003cp>\u003cstrong>Sept. 22-Oct 15\u003c/strong>: \u003ca href=\"http://youngjeanlee.org/\" target=\"_blank\" rel=\"noopener\">Young Jean Lee\u003c/a> wrote her play \u003cem>The Shipment\u003c/em> back in in 2007, but it feels totally fresh today. It’s about racial stereotyping in American culture, and it premiered before President Obama was inaugurated, before Black Lives matter, and before #OscarsSoWhite, yet Lee told me that she’s shocked at how little has changed since then. “It’s much more disturbing to me now than it was back then,” she says. “You know the issues that it’s addressing hurt more, because we should have gotten further by now.” Lee said she loves the dynamic of how mixed audiences (black and white) watching the show end up also watching each other, trying to gauge how to react. Maybe you should bring a friend. Details for the show’s run at \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater\u003c/a> are \u003ca href=\"//www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12104607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104607\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg\" alt=\"Richmond Art Center Celebrates its 80th Anniversary\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Art Center Celebrates its 80th Anniversary \u003ccite>(Photo: Courtesy of Richmond Art Center )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23-Nov. 12\u003c/strong>: Another 80th birthday now, this time for one of the Bay Area’s best and most innovative art centers. The \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center \u003c/a>celebrates with the show \u003cem>Making Our Mark\u003c/em> by some of the great artists who’ve shown there, and their students, featuring work by \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener\">Hung Liu, \u003c/a>Christopher Brown, Squeak Carnwath, Enrique Chagoya, William T. Wiley, and more. This evening the RAC celebrates its role teaching art to thousands of local school kids, with a \u003cem>Back to School Community Celebration\u003c/em> with art-making and food. Tomorrow the \u003ca href=\"http://delsolquartet.com/\" target=\"_blank\" rel=\"noopener\">Del Sol Quartet \u003c/a>plays music by Terry Riley at 2pm — just ten bucks for that. Details for the gallery show and other goodies are \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IHyLiZTMmqg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://deadprezblog.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a> is the duo of M1 and stic.man, and their music mixes social justice with pan-Africanism. In fact they make \u003ca href=\"http://publicenemy.com/\" target=\"_blank\" rel=\"noopener\">Public Enemy\u003c/a> look like pussy cats, with lyrics like “You wanna stop terrorists, start with U.S. imperialists.” When he was on Comedy Central, Dave Chapelle opened each episode of \u003cem>Chapelle’s Show\u003c/em> with an instrumental version of the Dead Prez song \u003ca href=\"https://www.youtube.com/watch?v=4jNyr6BJZuI\" target=\"_blank\" rel=\"noopener\">“Hip-Hop.”\u003c/a> They haven’t released an album in a while, but I’m glad they’re touring. Details for their show at the Uptown Nightclub in Oakland are \u003ca href=\"http://www.uptownnightclub.com/event/dead-prez/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/284193182″&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/284193182″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/lxEsC8wTO6Y'\n title='//www.youtube.com/embed/lxEsC8wTO6Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 29:\u003c/strong> Another great American composer known for groundbreaking work in minimalism is turning 80. We mentioned Steve Reich \u003ca href=\"https://ww2.kqed.org/arts/2016/09/01/cy-and-davids-picks-an-icon-of-minimalism-a-standup-politician-and-a-cure-for-those-post-labor-day-back-to-work-blues/\" target=\"_blank\" rel=\"noopener\">a few weeks ago\u003c/a> — now it’s\u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\"> Philip Glass\u003c/a>’ turn. And you can celebrate his still-dexterous fingers as he joins four other pianists to play all 20 of Glass’ piano études. He’s working with a terrific team, including the Bay Area’s \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\"> Sarah Cahill, \u003c/a>jazz pianist \u003ca href=\"http://www.aarondiehl.com/\" target=\"_blank\" rel=\"noopener\">Aaron Diehl\u003c/a>, and Jenny Lin. Glass does a pre-show chat with Stanford Live’s executive director Chris Lorway; I hope he talks about his days driving cab in New York. Tickets for this Bing Hall Concert are scarce, so act fast. Details \u003ca href=\"https://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12104803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg\" alt=\"Richard Clifford and Derek Jacobi in 'Measure and Dido' coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Clifford and Derek Jacobi in ‘Measure and Dido’ coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State \u003ccite>(Photo: Courtesy of Folger Shakespeare Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 24 and 25\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Derek_Jacobi\" target=\"_blank\" rel=\"noopener\">Derek Jacobi \u003c/a>could have retired after making \u003cem>\u003ca href=\"http://www.pbs.org/wgbh/masterpiece/archive/39/39.html\" target=\"_blank\" rel=\"noopener\">I, Claudius\u003c/a>\u003c/em> in 1976, and people would still be talking about how good he was in that BBC series. But he’s still working (\u003ca href=\"http://www.pbs.org/program/vicious/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious\u003c/em>\u003c/a> with Ian McKellen), and he’s the biggest star in a touring show from the Folger Shakespeare Library, a fascinating mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> with Purcell’s opera \u003cem>Dido and Aeneas\u003c/em>. Jacobi stars with his partner \u003ca href=\"http://www.imdb.com/name/nm0166678/\" target=\"_blank\" rel=\"noopener\">Richard Clifford\u003c/a>, who also directs the show, and musicians of the Folger Consort. This is a coup for the North Bay. The \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Center\u003c/a> in Yountville gets the world premiere, Saturday. Details \u003ca href=\"http://lincolntheater.com/vbo/?page=selectevent&eid=14227&edid=0\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then \u003ca href=\"http://gmc.sonoma.edu/events-by-date\" target=\"_blank\" rel=\"noopener\">Weill Hall \u003c/a>at Sonoma State in Rohnert Park gets the second performance. Details \u003ca href=\"http://gmc.sonoma.edu/event/3156910-shakespeare-s-400th-excerpts-from-measure-for\" target=\"_blank\" rel=\"noopener\">here.\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/w-YaWE0zu-c'\n title='//www.youtube.com/embed/w-YaWE0zu-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-Oct. 9\u003c/strong>: A musical adaptation of \u003cem>Pride and Prejudice\u003c/em>. Is Jane Austen rolling in her grave? Well, at least there are no zombies. This production from the scrappy \u003ca href=\"http://iamtheatre.org/\" target=\"_blank\" rel=\"noopener\">IAM Theatre\u003c/a> is also a chance to support a local favorite. The songs in \u003cem>Pride and Prejudice the Musical \u003c/em>are by \u003ca href=\"http://www.ritaabrams.com/\" target=\"_blank\" rel=\"noopener\">Rita Abrams\u003c/a>, the former Mill Valley schoolteacher priced out of town a few years ago, and the composer of the hit song “Mill Valley.” Details for this North American premiere are \u003ca href=\"http://www.prideandprejudicemusical.com/\" target=\"_blank\" rel=\"noopener\">here\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/qS2MJwmBB5Y'\n title='//www.youtube.com/embed/qS2MJwmBB5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 23-25\u003c/strong>: The \u003ca href=\"http://www.dresherensemble.org/\" target=\"_blank\" rel=\"noopener\">Paul Dresher Ensemble \u003c/a>is always pushing the boundaries of music and theater. This time, they’ve enlisted percussionist \u003ca href=\"http://sfcmp.org/steven-schick/\" target=\"_blank\" rel=\"noopener\">Steven Schick \u003c/a>(artistic director for the San Francisco Contemporary Music Players) to shake and bang on a battery of one-of-a-kind instruments in what they’re calling “Schick Experiment,” directed by \u003ca href=\"http://www.rindeeckert.com/\" target=\"_blank\" rel=\"noopener\">Rinde Eckert. \u003c/a>The instruments are as expressive as Schick himself: everything from a piece of sheet metal on a pogo stick to the Hurdy Grande, the Field of Flowers, and the Peacock (a deconstructed pipe organ). The idea seems to be to have fun with sound. We radio people applaud. Details \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 22-Oct 15\u003c/strong>: \u003ca href=\"http://youngjeanlee.org/\" target=\"_blank\" rel=\"noopener\">Young Jean Lee\u003c/a> wrote her play \u003cem>The Shipment\u003c/em> back in in 2007, but it feels totally fresh today. It’s about racial stereotyping in American culture, and it premiered before President Obama was inaugurated, before Black Lives matter, and before #OscarsSoWhite, yet Lee told me that she’s shocked at how little has changed since then. “It’s much more disturbing to me now than it was back then,” she says. “You know the issues that it’s addressing hurt more, because we should have gotten further by now.” Lee said she loves the dynamic of how mixed audiences (black and white) watching the show end up also watching each other, trying to gauge how to react. Maybe you should bring a friend. Details for the show’s run at \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater\u003c/a> are \u003ca href=\"//www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12104607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104607\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg\" alt=\"Richmond Art Center Celebrates its 80th Anniversary\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Art Center Celebrates its 80th Anniversary \u003ccite>(Photo: Courtesy of Richmond Art Center )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23-Nov. 12\u003c/strong>: Another 80th birthday now, this time for one of the Bay Area’s best and most innovative art centers. The \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center \u003c/a>celebrates with the show \u003cem>Making Our Mark\u003c/em> by some of the great artists who’ve shown there, and their students, featuring work by \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener\">Hung Liu, \u003c/a>Christopher Brown, Squeak Carnwath, Enrique Chagoya, William T. Wiley, and more. This evening the RAC celebrates its role teaching art to thousands of local school kids, with a \u003cem>Back to School Community Celebration\u003c/em> with art-making and food. Tomorrow the \u003ca href=\"http://delsolquartet.com/\" target=\"_blank\" rel=\"noopener\">Del Sol Quartet \u003c/a>plays music by Terry Riley at 2pm — just ten bucks for that. Details for the gallery show and other goodies are \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">here\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/IHyLiZTMmqg'\n title='//www.youtube.com/embed/IHyLiZTMmqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://deadprezblog.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a> is the duo of M1 and stic.man, and their music mixes social justice with pan-Africanism. In fact they make \u003ca href=\"http://publicenemy.com/\" target=\"_blank\" rel=\"noopener\">Public Enemy\u003c/a> look like pussy cats, with lyrics like “You wanna stop terrorists, start with U.S. imperialists.” When he was on Comedy Central, Dave Chapelle opened each episode of \u003cem>Chapelle’s Show\u003c/em> with an instrumental version of the Dead Prez song \u003ca href=\"https://www.youtube.com/watch?v=4jNyr6BJZuI\" target=\"_blank\" rel=\"noopener\">“Hip-Hop.”\u003c/a> They haven’t released an album in a while, but I’m glad they’re touring. Details for their show at the Uptown Nightclub in Oakland are \u003ca href=\"http://www.uptownnightclub.com/event/dead-prez/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three Bay Area artists are among the recipients of the coveted 2016 \u003ca href=\"https://www.macfound.org/\" target=\"_blank\" rel=\"noopener\">John D. and Catherine MacArthur Foundation\u003c/a> “genius grants.”\u003c/p>\n\u003cp>Graphic novelist \u003ca href=\"http://geneyang.com/\" target=\"_blank\" rel=\"noopener\">Gene Luen Yang\u003c/a>, sculptor \u003ca href=\"http://www.matthewmarks.com/new-york/artists/vincent-fecteau/\" target=\"_blank\" rel=\"noopener\">Vincent Fecteau\u003c/a> and writer \u003ca href=\"https://directory.calarts.edu/directory/maggie-nelson\" target=\"_blank\" rel=\"noopener\">Maggie Nelson\u003c/a>, all learned of their awards by phone on Wednesday.\u003c/p>\n\u003cp>The winners join this year’s class of 23 fellows whom the foundation has recognized for exceptional work in a variety of creative fields. Each fellow receives a stipend of $625,000, which will be disbursed over the course of five years. The gift aims to support each recipient in furthering their work.\u003c/p>\n\u003cp>“While our communities, our nation, and our world face both historic and emerging challenges, these 23 extraordinary individuals give us ample reason for hope,” MacArthur President Julia Stasch said the foundation’s award announcement. “They are breaking new ground in areas of public concern, in the arts, and in the sciences, often in unexpected ways. Their creativity, dedication, and impact inspire us all.”\u003c/p>\n\u003cp>The Bay Area fellows have channeled that creativity into work that has been lauded nationwide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yang, a San Jose native, currently serves as the National Ambassador for Young People’s Literature, and is the first graphic novelist to do so in the position’s history. His work explores the Chinese-American experience and other diverse identities and perspectives, with a focus on young adults.\u003c/p>\n\u003cfigure id=\"attachment_12104660\" class=\"wp-caption aligncenter\" style=\"max-width: 388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104660\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg\" alt=\"Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang)\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-768x1188.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-763x1180.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-1180x1825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-960x1485.jpg 960w\" sizes=\"(max-width: 388px) 100vw, 388px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang) \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work is really about how young people find their power, how they find their voice, how they find their sense of belonging, and how that adds up to their identity,” Yang recently said in a discussion with \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/watch/archive/298456\" target=\"_blank\" rel=\"noopener\">KQED’s Newsroom\u003c/a>.\u003c/p>\n\u003cp>Other Bay Area fellows engage with similar projects around identity and critical introspection. Nelson, who grew up in San Francisco and currently resides in Los Angeles, discusses “universal” narratives and concepts around relationships and identity politics. Fecteau, a fellow San Franciscan, creates sculptures that challenge his viewers to deeply contemplate the act of perception and its relationship with philosophical and physical dimensions.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vincent Fecteau\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/eKyqvEVngrU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The MacArthur Foundation also recognized Oakland-based José Quiñonez, the director of the non-profit financial marketplace, \u003ca href=\"http://missionassetfund.org/\" target=\"_blank\" rel=\"noopener\">Mission Asset Fund\u003c/a>, for his efforts toward increasing financial access to minority, immigrant and low-income households.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three Bay Area artists are among the recipients of the coveted 2016 \u003ca href=\"https://www.macfound.org/\" target=\"_blank\" rel=\"noopener\">John D. and Catherine MacArthur Foundation\u003c/a> “genius grants.”\u003c/p>\n\u003cp>Graphic novelist \u003ca href=\"http://geneyang.com/\" target=\"_blank\" rel=\"noopener\">Gene Luen Yang\u003c/a>, sculptor \u003ca href=\"http://www.matthewmarks.com/new-york/artists/vincent-fecteau/\" target=\"_blank\" rel=\"noopener\">Vincent Fecteau\u003c/a> and writer \u003ca href=\"https://directory.calarts.edu/directory/maggie-nelson\" target=\"_blank\" rel=\"noopener\">Maggie Nelson\u003c/a>, all learned of their awards by phone on Wednesday.\u003c/p>\n\u003cp>The winners join this year’s class of 23 fellows whom the foundation has recognized for exceptional work in a variety of creative fields. Each fellow receives a stipend of $625,000, which will be disbursed over the course of five years. The gift aims to support each recipient in furthering their work.\u003c/p>\n\u003cp>“While our communities, our nation, and our world face both historic and emerging challenges, these 23 extraordinary individuals give us ample reason for hope,” MacArthur President Julia Stasch said the foundation’s award announcement. “They are breaking new ground in areas of public concern, in the arts, and in the sciences, often in unexpected ways. Their creativity, dedication, and impact inspire us all.”\u003c/p>\n\u003cp>The Bay Area fellows have channeled that creativity into work that has been lauded nationwide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yang, a San Jose native, currently serves as the National Ambassador for Young People’s Literature, and is the first graphic novelist to do so in the position’s history. His work explores the Chinese-American experience and other diverse identities and perspectives, with a focus on young adults.\u003c/p>\n\u003cfigure id=\"attachment_12104660\" class=\"wp-caption aligncenter\" style=\"max-width: 388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104660\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg\" alt=\"Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang)\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-768x1188.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-763x1180.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-1180x1825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS16984_ShadowHero-Cov-300rbg-2-qut-960x1485.jpg 960w\" sizes=\"(max-width: 388px) 100vw, 388px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is the author of “The Shadow Hero,” about a character who many consider to be the first Asian-American superhero. Yang is also the author of “American Born Chinese “and “Boxers & Saints.” (Courtesy of Gene Luen Yang) \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work is really about how young people find their power, how they find their voice, how they find their sense of belonging, and how that adds up to their identity,” Yang recently said in a discussion with \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/watch/archive/298456\" target=\"_blank\" rel=\"noopener\">KQED’s Newsroom\u003c/a>.\u003c/p>\n\u003cp>Other Bay Area fellows engage with similar projects around identity and critical introspection. Nelson, who grew up in San Francisco and currently resides in Los Angeles, discusses “universal” narratives and concepts around relationships and identity politics. Fecteau, a fellow San Franciscan, creates sculptures that challenge his viewers to deeply contemplate the act of perception and its relationship with philosophical and physical dimensions.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vincent Fecteau\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/eKyqvEVngrU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The MacArthur Foundation also recognized Oakland-based José Quiñonez, the director of the non-profit financial marketplace, \u003ca href=\"http://missionassetfund.org/\" target=\"_blank\" rel=\"noopener\">Mission Asset Fund\u003c/a>, for his efforts toward increasing financial access to minority, immigrant and low-income households.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Sachs Leads Space Mission to Jupiter's Europa Without Leaving Earth",
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"content": "\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"title": "Tom Sachs Leads Space Mission to Jupiter's Europa Without Leaving Earth | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "What Happens When Yelp Restaurant Reviews Turn Political?",
"title": "What Happens When Yelp Restaurant Reviews Turn Political?",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Until Sept. 19, if diners had wanted to see Yelp reviews for Elizabeth, New Jersey restaurant First American Fried Chicken, they would have found just two of them, praising the food, wide selection and late hours. Now, the majority of reviews give the restaurant one star, refer to the owners as \"terrorists,\" talk about \"72 virgin bucket specials\" and mention — repeatedly — that their chicken is \"the bomb.\"\u003c/p>\n\u003cp>First American Fried Chicken has gotten 13 pages of new reviews since the news broke that the owner's son, Ahmad Khan Rahami, was the suspect in last weekend's Manhattan and New Jersey bombings.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Before Yelp was founded in 2004, reviewing was the domain of professional critics. In the past decade, the public has discovered social media is not just a way to connect but a great way to air grievances. Once, if a business or business owner did something members of the public didn't like, they had little recourse besides protesting in person or to their local Better Business Bureau. Now, through Yelp, the average person can easily try to put someone out of business. The site is so popular — especially when people are trying to find a place to eat — that too many low reviews can keep hungry patrons from ever considering the restaurant.\u003c/p>\n\u003cp>Past victims of Yelp attacks have come from both sides of the political spectrum — ranging from a restaurant whose owner was photographed giving Obama a giant \"bear hug\" to a bakery who refused to make a cake for a same-sex wedding. Airing political views through Yelp has become such a popular (and unwelcome) pastime that the site had to create a \"cleanup\" alert, which was first implemented last year in response to the numerous political attacks.\u003cstrong> \u003c/strong>A business undergoing a cleanup will have a large red box at the top of noting that the page is being closely monitored by Yelp staff. The questionable reviews aren't actually removed at first. Instead, they are covered by a pop-up window (users can click out of it) that goes into greater detail about the media-related nature of the cleanup.\u003c/p>\n\u003cfigure id=\"attachment_112172\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg\" alt='Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff.' width=\"1376\" height=\"1115\" class=\"size-full wp-image-112172\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-400x324.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-800x648.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-768x622.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-1180x956.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-960x778.jpg 960w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff. \u003ccite>(Screenshot from Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our goal is to be transparent with the actions we take to protect the quality of content on our site, preserve consumers' freedom of speech, and shield businesses from online harassment,\" a Yelp spokesperson said. \"These media storms are complicated situations that create a dilemma for Yelp, but we've chosen to take a strong and consistent stance on managing them.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While there are media-fueled reviews \"several times a month\" on Yelp, according to the spokesperson, it's rare that they reach the level of First American Fried Chicken. This likely contributed to Yelp's fast response to the fake reviews, which are usually noticed by the support team or flagged by members of the community.\u003c/p>\n\u003cp>The effects of these politically motivated reviews — and the sentiments behind them — are real and go far beyond lowering a business to one-star status. Sweet Cakes by Melissa, the \u003ca href=\"http://www.oregonlive.com/business/index.ssf/2015/04/gofundme_fundraising_site_for.html\" target=\"_blank\">Portland bakery\u003c/a> that was eventually forced to pay the same-sex couple damages for refusing to bake for their wedding, had its stance supported by enough people to raise $66,000 via a GoFundMe page to help with legal fees. (The campaign was shut down by the site before completion, evidently because it violated GoFundMe's terms and conditions.) Despite a network of supporters over the Internet, Sweet Cakes closed within a year of refusing the couple.\u003c/p>\n\u003cp>After Pete, the owner of a college-town bar in South Carolina, refused to allow concealed weapons in his establishment, he found himself attacked from anti-gun control supporters. He didn't want to use his full name or the name of his establishment because \"every time it gets posted, we get another round of hits.\"\u003c/p>\n\u003cp>And it's not just one-star reviews or angry posts on social media (though those happen, too). \"We get so many calls with people cursing us out,\" Pete said.\u003c/p>\n\u003cp>Many of his employees are college students, working part-time, and they'd answer the phone to hear people threaten to \"shoot you in the head,\" Pete recalled. As far as his actual customers, business does just as well or slightly better after one of these attacks, \"but it's just not worth it,\" he said.\u003c/p>\n\u003cp>When Yelp is finished with its cleanup of First American Fried Chicken, most of the political reviews will be scrubbed away. But the outpouring of hate is hard to forget, a permanent stain that no cleanup can fix. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "First American Fried Chicken, owned by the family of the suspect in the Manhattan bombings, is the latest eatery to see reviews plummet based on more than food. Some attacks can cross into real life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Until Sept. 19, if diners had wanted to see Yelp reviews for Elizabeth, New Jersey restaurant First American Fried Chicken, they would have found just two of them, praising the food, wide selection and late hours. Now, the majority of reviews give the restaurant one star, refer to the owners as \"terrorists,\" talk about \"72 virgin bucket specials\" and mention — repeatedly — that their chicken is \"the bomb.\"\u003c/p>\n\u003cp>First American Fried Chicken has gotten 13 pages of new reviews since the news broke that the owner's son, Ahmad Khan Rahami, was the suspect in last weekend's Manhattan and New Jersey bombings.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Before Yelp was founded in 2004, reviewing was the domain of professional critics. In the past decade, the public has discovered social media is not just a way to connect but a great way to air grievances. Once, if a business or business owner did something members of the public didn't like, they had little recourse besides protesting in person or to their local Better Business Bureau. Now, through Yelp, the average person can easily try to put someone out of business. The site is so popular — especially when people are trying to find a place to eat — that too many low reviews can keep hungry patrons from ever considering the restaurant.\u003c/p>\n\u003cp>Past victims of Yelp attacks have come from both sides of the political spectrum — ranging from a restaurant whose owner was photographed giving Obama a giant \"bear hug\" to a bakery who refused to make a cake for a same-sex wedding. Airing political views through Yelp has become such a popular (and unwelcome) pastime that the site had to create a \"cleanup\" alert, which was first implemented last year in response to the numerous political attacks.\u003cstrong> \u003c/strong>A business undergoing a cleanup will have a large red box at the top of noting that the page is being closely monitored by Yelp staff. The questionable reviews aren't actually removed at first. Instead, they are covered by a pop-up window (users can click out of it) that goes into greater detail about the media-related nature of the cleanup.\u003c/p>\n\u003cfigure id=\"attachment_112172\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg\" alt='Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff.' width=\"1376\" height=\"1115\" class=\"size-full wp-image-112172\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-400x324.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-800x648.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-768x622.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-1180x956.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/09/yelp_enl-d7c79b3fcc31184f9bbe3275f41e527800d4c543-960x778.jpg 960w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">Airing political views through Yelp has become such a popular pastime that the site had to create a \"cleanup\" alert. A business undergoing a cleanup will have a large red box like this one at the top noting that the page is being closely monitored by Yelp staff. \u003ccite>(Screenshot from Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our goal is to be transparent with the actions we take to protect the quality of content on our site, preserve consumers' freedom of speech, and shield businesses from online harassment,\" a Yelp spokesperson said. \"These media storms are complicated situations that create a dilemma for Yelp, but we've chosen to take a strong and consistent stance on managing them.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While there are media-fueled reviews \"several times a month\" on Yelp, according to the spokesperson, it's rare that they reach the level of First American Fried Chicken. This likely contributed to Yelp's fast response to the fake reviews, which are usually noticed by the support team or flagged by members of the community.\u003c/p>\n\u003cp>The effects of these politically motivated reviews — and the sentiments behind them — are real and go far beyond lowering a business to one-star status. Sweet Cakes by Melissa, the \u003ca href=\"http://www.oregonlive.com/business/index.ssf/2015/04/gofundme_fundraising_site_for.html\" target=\"_blank\">Portland bakery\u003c/a> that was eventually forced to pay the same-sex couple damages for refusing to bake for their wedding, had its stance supported by enough people to raise $66,000 via a GoFundMe page to help with legal fees. (The campaign was shut down by the site before completion, evidently because it violated GoFundMe's terms and conditions.) Despite a network of supporters over the Internet, Sweet Cakes closed within a year of refusing the couple.\u003c/p>\n\u003cp>After Pete, the owner of a college-town bar in South Carolina, refused to allow concealed weapons in his establishment, he found himself attacked from anti-gun control supporters. He didn't want to use his full name or the name of his establishment because \"every time it gets posted, we get another round of hits.\"\u003c/p>\n\u003cp>And it's not just one-star reviews or angry posts on social media (though those happen, too). \"We get so many calls with people cursing us out,\" Pete said.\u003c/p>\n\u003cp>Many of his employees are college students, working part-time, and they'd answer the phone to hear people threaten to \"shoot you in the head,\" Pete recalled. As far as his actual customers, business does just as well or slightly better after one of these attacks, \"but it's just not worth it,\" he said.\u003c/p>\n\u003cp>When Yelp is finished with its cleanup of First American Fried Chicken, most of the political reviews will be scrubbed away. But the outpouring of hate is hard to forget, a permanent stain that no cleanup can fix. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the Smithsonian Museum of African-American History and Culture opens this week alongside the Washington Monument and the National Museum of American History, it will firmly — and finally — anchor the black experience in the nation’s narrative.\u003c/p>\n\u003cp>“In 1915 they say, ‘There should be a monument. There should be a memorial that honors our contribution,'” said Michelle Wilkinson, one of the museum’s curators. “Not just a pile of stone, or a shaft. It needs to be a museum.”\u003c/p>\n\u003cp>Fifty years after the end of the Civil War, black citizens in Washington, D.C., formed the National Memorial Association with the purpose of “erecting a beautiful building, suitable to depict the Negro’s contribution to America.” It would be, they said, “a shrine for posterity.”\u003c/p>\n\u003cp>It has taken a century for their dream to be realized in Washington, a place visited by more than 20 million people from around the world who want to learn about the United States. During that time, other monuments and museums celebrating the stories of other Americans were proposed and built in the nation’s capital.\u003c/p>\n\u003cp>On Saturday, the long wait is over: America’s first black president and first lady will preside over the museum’s opening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thousands are expected to attend the museum’s inaugural weekend, and millions more will virtually experience the milestone via social media.\u003c/p>\n\u003cp>The imposing space on the National Mall likely will set visitor records. And in an era informed simultaneously by the historic election of President Barack Obama and a succession of killings of unarmed black men at the hands of police, it is a building that will affirm for many that black lives matter.\u003c/p>\n\u003cp>Its facade is unlike anything else in Washington. The building’s outward design — known as the Corona — features walls reaching skyward, evoking the resiliency, faith and hope that has sustained black Americans since they were brought to the country in bondage. Its three-tiered shape is inspired by a symbol from the Yoruba people of West Africa featuring a crown. The 3,600 bronze-colored panels surrounding the building are a tribute to the 19th-century ironwork created by slaves in New Orleans.\u003c/p>\n\u003cp>“The structure itself is imbued with meaning,” said Phil Freelon, the lead architect for the museum. “All these things are subtle. That’s intentional. It has a certain sense to it that is African-American, in the way that our culture is expressive in other areas. We believe architecture can evoke those sorts of emotions.”\u003c/p>\n\u003cp>It is a building that fulfills the original vision of the association members. In a letter addressed to state representatives across the country, the group pled their case for a national memorial, saying, “General memorials do not make the average American think of Negroes. Therefore, the failure to erect a special memorial may and probably will be interpreted as meaning that Negroes have made no great contribution to American advancement in war or in any other field.”\u003c/p>\n\u003cp>They went on to say: “It would be a splendid idea if all this could find a place in a public building in Washington where it would reflect the greatest possible good throughout the country.”\u003c/p>\n\u003cp>Washingtonians have watched the building rise from nothing on a grassy knoll at the bustling intersection of Constitution Avenue and 15th Street. Construction on the museum began in 2012, the same year Obama was re-elected to a second term. It will open four months before he is set to leave office.\u003c/p>\n\u003cp>Standing five stories high with 60 percent of the building below ground, the 400,000-square foot structure attempts to hold four centuries of black history. Visitors begin by descending to the basement and then walk up a series of ramps winding through the origins of slavery, to the bonds of Jim Crow, to an integrated society. Exhibits on the upper floors highlight the unique contributions of blacks to areas of American life, including the military, sports, music, the visual arts, film and television, business, the news media and religion.\u003c/p>\n\u003cp>Artifacts large and small fill the space, sure to evoke feelings of pain and pride from the collective memories of black visitors.\u003c/p>\n\u003cp>There are the ankle shackles that would have been used to restrain people who became slaves after crossing the Atlantic Ocean from the African continent to the Americas. A bill of sale for an enslaved 16-year-old girl named Polly, who was sold for $600 in Arkansas in 1835. A segregated Southern Railway passenger car that would have passed through Kentucky, Tennessee, Georgia and Florida. Glass shards and shotgun shells from the 16th Street Baptist Church in Birmingham, Alabama, where four little girls were killed in a racist bombing in 1963.\u003c/p>\n\u003cp>There also is a biplane used at Alabama’s Tuskegee Institute to train black pilots for Army Air Corps service during World War II. A vintage red Cadillac from rock-and-roll legend Chuck Berry’s personal collection. Harriet Tubman’s hymn book, circa 1876. Michael Jackson’s fedora.\u003c/p>\n\u003cp>Visitors can eat at a cafe featuring authentic black cuisines from four regions of the country: the agricultural South, the Creole coast, the North states, and the Western range. Dishes include Brunswick stew, shrimp and grits, an oyster pan roast, and rainbow trout stuffed with mustard greens.\u003c/p>\n\u003cp>Marcia Morris, a 12th-grade English teacher who lives in nearby Fairfax, Virginia, has closely followed news reports as the museum acquired rare treasures and opening day approached. “The closer it came to completion, the more real it became,” she said.\u003c/p>\n\u003cp>As construction progressed, Morris thought often of her deceased grandparents, who lived during segregation.\u003c/p>\n\u003cp>“A museum just dedicated to the history of black people? That was not in the realm of (my grandfather’s) thought process,” she said. “They weren’t educated. I know the things my grandparents went through. I think we owe something to that generation.”\u003c/p>\n\u003cp>Tickets to the museum are free, but visitors must make reservations for timed tours. Weekends already are booked through early December, and the museum has extended its hours to accommodate the increased demand.\u003c/p>\n\u003cp>Morris ordered tickets next month to coincide with her daughter’s 16th birthday, which she finds a fitting way to mark the occasion.\u003c/p>\n\u003cp>“They have a black president, people on television are black, black is cool to them and their friends,” Morris said of her daughter and son. “I don’t want them to ever not know what black people have gone through.”\u003c/p>\n\u003cp>When Dianne Washington travels south from Harlem to visit the museum at the end of October, she said will be making a trip that is overdue.\u003c/p>\n\u003cp>“We have contributed so much to this country, free of charge,” she said.\u003c/p>\n\u003cp>She is overjoyed that the moment is finally here.\u003c/p>\n\u003cp>“Everything was built on our backs,” she said. “Our ancestors suffered so much. Something should be in place to honor them and their story told properly. Why not us? I can’t wait.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\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>When the Smithsonian Museum of African-American History and Culture opens this week alongside the Washington Monument and the National Museum of American History, it will firmly — and finally — anchor the black experience in the nation’s narrative.\u003c/p>\n\u003cp>“In 1915 they say, ‘There should be a monument. There should be a memorial that honors our contribution,'” said Michelle Wilkinson, one of the museum’s curators. “Not just a pile of stone, or a shaft. It needs to be a museum.”\u003c/p>\n\u003cp>Fifty years after the end of the Civil War, black citizens in Washington, D.C., formed the National Memorial Association with the purpose of “erecting a beautiful building, suitable to depict the Negro’s contribution to America.” It would be, they said, “a shrine for posterity.”\u003c/p>\n\u003cp>It has taken a century for their dream to be realized in Washington, a place visited by more than 20 million people from around the world who want to learn about the United States. During that time, other monuments and museums celebrating the stories of other Americans were proposed and built in the nation’s capital.\u003c/p>\n\u003cp>On Saturday, the long wait is over: America’s first black president and first lady will preside over the museum’s opening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thousands are expected to attend the museum’s inaugural weekend, and millions more will virtually experience the milestone via social media.\u003c/p>\n\u003cp>The imposing space on the National Mall likely will set visitor records. And in an era informed simultaneously by the historic election of President Barack Obama and a succession of killings of unarmed black men at the hands of police, it is a building that will affirm for many that black lives matter.\u003c/p>\n\u003cp>Its facade is unlike anything else in Washington. The building’s outward design — known as the Corona — features walls reaching skyward, evoking the resiliency, faith and hope that has sustained black Americans since they were brought to the country in bondage. Its three-tiered shape is inspired by a symbol from the Yoruba people of West Africa featuring a crown. The 3,600 bronze-colored panels surrounding the building are a tribute to the 19th-century ironwork created by slaves in New Orleans.\u003c/p>\n\u003cp>“The structure itself is imbued with meaning,” said Phil Freelon, the lead architect for the museum. “All these things are subtle. That’s intentional. It has a certain sense to it that is African-American, in the way that our culture is expressive in other areas. We believe architecture can evoke those sorts of emotions.”\u003c/p>\n\u003cp>It is a building that fulfills the original vision of the association members. In a letter addressed to state representatives across the country, the group pled their case for a national memorial, saying, “General memorials do not make the average American think of Negroes. Therefore, the failure to erect a special memorial may and probably will be interpreted as meaning that Negroes have made no great contribution to American advancement in war or in any other field.”\u003c/p>\n\u003cp>They went on to say: “It would be a splendid idea if all this could find a place in a public building in Washington where it would reflect the greatest possible good throughout the country.”\u003c/p>\n\u003cp>Washingtonians have watched the building rise from nothing on a grassy knoll at the bustling intersection of Constitution Avenue and 15th Street. Construction on the museum began in 2012, the same year Obama was re-elected to a second term. It will open four months before he is set to leave office.\u003c/p>\n\u003cp>Standing five stories high with 60 percent of the building below ground, the 400,000-square foot structure attempts to hold four centuries of black history. Visitors begin by descending to the basement and then walk up a series of ramps winding through the origins of slavery, to the bonds of Jim Crow, to an integrated society. Exhibits on the upper floors highlight the unique contributions of blacks to areas of American life, including the military, sports, music, the visual arts, film and television, business, the news media and religion.\u003c/p>\n\u003cp>Artifacts large and small fill the space, sure to evoke feelings of pain and pride from the collective memories of black visitors.\u003c/p>\n\u003cp>There are the ankle shackles that would have been used to restrain people who became slaves after crossing the Atlantic Ocean from the African continent to the Americas. A bill of sale for an enslaved 16-year-old girl named Polly, who was sold for $600 in Arkansas in 1835. A segregated Southern Railway passenger car that would have passed through Kentucky, Tennessee, Georgia and Florida. Glass shards and shotgun shells from the 16th Street Baptist Church in Birmingham, Alabama, where four little girls were killed in a racist bombing in 1963.\u003c/p>\n\u003cp>There also is a biplane used at Alabama’s Tuskegee Institute to train black pilots for Army Air Corps service during World War II. A vintage red Cadillac from rock-and-roll legend Chuck Berry’s personal collection. Harriet Tubman’s hymn book, circa 1876. Michael Jackson’s fedora.\u003c/p>\n\u003cp>Visitors can eat at a cafe featuring authentic black cuisines from four regions of the country: the agricultural South, the Creole coast, the North states, and the Western range. Dishes include Brunswick stew, shrimp and grits, an oyster pan roast, and rainbow trout stuffed with mustard greens.\u003c/p>\n\u003cp>Marcia Morris, a 12th-grade English teacher who lives in nearby Fairfax, Virginia, has closely followed news reports as the museum acquired rare treasures and opening day approached. “The closer it came to completion, the more real it became,” she said.\u003c/p>\n\u003cp>As construction progressed, Morris thought often of her deceased grandparents, who lived during segregation.\u003c/p>\n\u003cp>“A museum just dedicated to the history of black people? That was not in the realm of (my grandfather’s) thought process,” she said. “They weren’t educated. I know the things my grandparents went through. I think we owe something to that generation.”\u003c/p>\n\u003cp>Tickets to the museum are free, but visitors must make reservations for timed tours. Weekends already are booked through early December, and the museum has extended its hours to accommodate the increased demand.\u003c/p>\n\u003cp>Morris ordered tickets next month to coincide with her daughter’s 16th birthday, which she finds a fitting way to mark the occasion.\u003c/p>\n\u003cp>“They have a black president, people on television are black, black is cool to them and their friends,” Morris said of her daughter and son. “I don’t want them to ever not know what black people have gone through.”\u003c/p>\n\u003cp>When Dianne Washington travels south from Harlem to visit the museum at the end of October, she said will be making a trip that is overdue.\u003c/p>\n\u003cp>“We have contributed so much to this country, free of charge,” she said.\u003c/p>\n\u003cp>She is overjoyed that the moment is finally here.\u003c/p>\n\u003cp>“Everything was built on our backs,” she said. “Our ancestors suffered so much. Something should be in place to honor them and their story told properly. Why not us? I can’t wait.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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"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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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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