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"content": "\u003cp>“It’s just a dot of light, but it’s a very special dot of light.” That’s how Queen guitarist Brian May describes the asteroid named for his late friend and bandmate Freddie Mercury.\u003c/p>\n\u003cp>Official designation: Asteroid 17473 Freddiemercury.\u003c/p>\n\u003cp>“Happy Birthday Freddie!” May wrote on Twitter. “They already named a planet after you, but this little ROCK is a bonus! ha ha.”\u003c/p>\n\u003cp>The celestial body was discovered in the same year Mercury died at age 45. It was dedicated to the singer in honor of what would have been his 70th birthday, in a move that May announced in a video shown at a party for Mercury’s Sept. 5 birthday in Montreux, Switzerland.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o2vo6VR51eA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \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=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \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=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new production of \u003ci>\u003cspan style=\"font-weight: 400\">Othello \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">opened this weekend at Northern California’s \u003ca href=\"http://marinshakespeare.org/\">Marin Shakespeare Company\u003c/a>. The lead actor, Dameion Brown, has never appeared on a professional stage before. In fact, just last year, he was paroled after spending 23 years in California state prison. Now he’s tackling one of Shakespeare’s most difficult characters.\u003c/span>\u003c/p>\n\u003cp>Othello is a controversial play, dealing with race, love and violence. In case you need the Cliffs Notes: After he’s convinced that his wife is deceiving him, Othello, a Moorish general, kills his fair-skinned Venetian wife, Desdemona.\u003c/p>\n\u003cp>I spoke with Dameion Brown at KQED’s studio in San Francisco.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/281146281\" 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>\u003cb>What is it about Othello that drew you to that role?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>DAMEION BROWN:\u003c/strong> One of the main things is the fact that I had won that lead in junior high. And that production never went on. You’re looking at a 14-year-old black boy with a 14-year-old white girl, in the South. There were strong feelings from the parents -- the African-American parents and the white parents -- of how they wanted their children to interact in a play such as that. So that performance never took place. And it was something that stuck in my mind a long time.\u003c/p>\n\u003cp>\u003cb>So, now you're getting a chance to play Othello, finally. How do you establish an emotional connection to this character, from a play written almost 400 years ago?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> That is the easiest part. Life experiences prepare you for the ebbs and flows of emotion. I understand betrayal. I understand confusion. I understand jealousy. I understand the pain of harming someone you love. I don't have to dig deep to get in touch with those things, because they make up who I am. Had it been a comedy, that would have required a lot more work from me!\u003c/p>\n\u003cp>\u003cb>You mention understanding the pain of harming someone you love. I know that you were sentenced to life, basically for being physically abusive to your own kids.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes. And it is indeed a fact: I believed in corporal punishment. And I did inflict corporal punishment. It’s also a fact that I was charged with certain things, and I was convicted of certain things. But it is also a fact that the things which I did have not been presented in the right way. What was true was that I was very physical with my children, because I understood that to be the way that a parent reared a child -- with the switch, with the belt -- because this is what I knew, coming from the South. Over time, I learned better.\u003c/p>\n\u003cp>\u003cb>You were charged with harming your 3-year-old daughter, and leaving her disfigured. Those are pretty serious charges.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Very serious charges. And it was a very real conviction. And it was a very real 23 years that I spent. But a very inaccurate story of what occurred.\u003c/p>\n\u003cp>\u003cb>So what did occur?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> It was neglect. Trying to do all these things at once. Trying to prepare for a job interview, trying to answer the door, trying to feed some of the children, trying to bathe some of the children, trying to get a bottle into the bedroom with my newborn with my wife. And forgetting I had a child in the bathtub. When these accidents occur, and someone looks and says, \"Well, you switch your children, you whip your children, you leave marks on your children,\" you lose all benefit of the doubt that an accident could occur.\u003c/p>\n\u003cp>\u003cb>You were paroled after 23 years, and the parole board eventually did agree that you were reformed. And the arts were a part of that, right? You participated in a Shakespeare production while you were serving time.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> \u003cem>Macbeth.\u003c/em> And it was a very good thing. I learned a lot. Sometimes, through an examination of another life -- even if it be a fictitious character -- it is impossible that at 2 in the morning when you're in the solitude of your own thoughts, you can’t identify with the parallel that exists within yourself.\u003c/p>\n\u003cp>\u003cb>Outside of acting, you have a job \u003ca href=\"http://communityworkswest.org/about-us/\">mentoring young people\u003c/a> who are at risk. Are any of them going to see you in \u003cem>Othello\u003c/em>?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Definitely. They have all expressed great interest in coming to see it. I want them to see that someone who did 23 years in prison, who is still sometimes thought of as some of the Venetians thought of the Moor, can achieve this. And let them know it’s OK to try something different. You don’t have to cuss all day. I can say “thee,” “thou” and “thither.” Broaden your horizon.\u003c/p>\n\u003cp>\u003cb>Your own life has had some Shakespearean twists. You're now out on parole. I understand you're married now, to a woman who was a former guard at Soledad. It's all kind of Shakespearean.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes, we live these comedies and these tragedies, and they are the ebbs and flows of life. There was a time when I thought that I would never be out of prison. There was a time when I thought that I would never be married. But none of those things have lasted. And Shakespeare allows me to remember, and to be OK with, the ins and the outs. The rises and the falls of things.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new production of \u003ci>\u003cspan style=\"font-weight: 400\">Othello \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">opened this weekend at Northern California’s \u003ca href=\"http://marinshakespeare.org/\">Marin Shakespeare Company\u003c/a>. The lead actor, Dameion Brown, has never appeared on a professional stage before. In fact, just last year, he was paroled after spending 23 years in California state prison. Now he’s tackling one of Shakespeare’s most difficult characters.\u003c/span>\u003c/p>\n\u003cp>Othello is a controversial play, dealing with race, love and violence. In case you need the Cliffs Notes: After he’s convinced that his wife is deceiving him, Othello, a Moorish general, kills his fair-skinned Venetian wife, Desdemona.\u003c/p>\n\u003cp>I spoke with Dameion Brown at KQED’s studio in San Francisco.\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/281146281&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/281146281'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What is it about Othello that drew you to that role?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>DAMEION BROWN:\u003c/strong> One of the main things is the fact that I had won that lead in junior high. And that production never went on. You’re looking at a 14-year-old black boy with a 14-year-old white girl, in the South. There were strong feelings from the parents -- the African-American parents and the white parents -- of how they wanted their children to interact in a play such as that. So that performance never took place. And it was something that stuck in my mind a long time.\u003c/p>\n\u003cp>\u003cb>So, now you're getting a chance to play Othello, finally. How do you establish an emotional connection to this character, from a play written almost 400 years ago?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> That is the easiest part. Life experiences prepare you for the ebbs and flows of emotion. I understand betrayal. I understand confusion. I understand jealousy. I understand the pain of harming someone you love. I don't have to dig deep to get in touch with those things, because they make up who I am. Had it been a comedy, that would have required a lot more work from me!\u003c/p>\n\u003cp>\u003cb>You mention understanding the pain of harming someone you love. I know that you were sentenced to life, basically for being physically abusive to your own kids.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes. And it is indeed a fact: I believed in corporal punishment. And I did inflict corporal punishment. It’s also a fact that I was charged with certain things, and I was convicted of certain things. But it is also a fact that the things which I did have not been presented in the right way. What was true was that I was very physical with my children, because I understood that to be the way that a parent reared a child -- with the switch, with the belt -- because this is what I knew, coming from the South. Over time, I learned better.\u003c/p>\n\u003cp>\u003cb>You were charged with harming your 3-year-old daughter, and leaving her disfigured. Those are pretty serious charges.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Very serious charges. And it was a very real conviction. And it was a very real 23 years that I spent. But a very inaccurate story of what occurred.\u003c/p>\n\u003cp>\u003cb>So what did occur?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> It was neglect. Trying to do all these things at once. Trying to prepare for a job interview, trying to answer the door, trying to feed some of the children, trying to bathe some of the children, trying to get a bottle into the bedroom with my newborn with my wife. And forgetting I had a child in the bathtub. When these accidents occur, and someone looks and says, \"Well, you switch your children, you whip your children, you leave marks on your children,\" you lose all benefit of the doubt that an accident could occur.\u003c/p>\n\u003cp>\u003cb>You were paroled after 23 years, and the parole board eventually did agree that you were reformed. And the arts were a part of that, right? You participated in a Shakespeare production while you were serving time.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> \u003cem>Macbeth.\u003c/em> And it was a very good thing. I learned a lot. Sometimes, through an examination of another life -- even if it be a fictitious character -- it is impossible that at 2 in the morning when you're in the solitude of your own thoughts, you can’t identify with the parallel that exists within yourself.\u003c/p>\n\u003cp>\u003cb>Outside of acting, you have a job \u003ca href=\"http://communityworkswest.org/about-us/\">mentoring young people\u003c/a> who are at risk. Are any of them going to see you in \u003cem>Othello\u003c/em>?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Definitely. They have all expressed great interest in coming to see it. I want them to see that someone who did 23 years in prison, who is still sometimes thought of as some of the Venetians thought of the Moor, can achieve this. And let them know it’s OK to try something different. You don’t have to cuss all day. I can say “thee,” “thou” and “thither.” Broaden your horizon.\u003c/p>\n\u003cp>\u003cb>Your own life has had some Shakespearean twists. You're now out on parole. I understand you're married now, to a woman who was a former guard at Soledad. It's all kind of Shakespearean.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes, we live these comedies and these tragedies, and they are the ebbs and flows of life. There was a time when I thought that I would never be out of prison. There was a time when I thought that I would never be married. But none of those things have lasted. And Shakespeare allows me to remember, and to be OK with, the ins and the outs. The rises and the falls of things.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "150 Years of Slinging Drinks: A Visit to the Iron Door Saloon",
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"content": "\u003cp>Just miles down the road from Yosemite, \u003ca href=\"http://www.iron-door-saloon.com/\">the Iron Door Saloon\u003c/a> in Groveland claims to be California’s oldest continuously operating bar.\u003c/p>\n\u003cp>It has served gold prospectors, loggers and workers coming to the Sierra Nevada for more than 150 years. Just like a majestic waterfall or granite peak, it’s a sight to behold.\u003c/p>\n\u003cp>The saloon is dark and cavernous, with the original granite walls from the 1850s. Two swinging cast-iron doors, shipped over from England, gave the bar its name. They also have protected it from forest fires over the years, allowing it to survive longer than other bars.\u003c/p>\n\u003cp>“The story was, when a fire raged through town, you just closed your doors and your stuff would be safe,” says owner Chris Loh.\u003c/p>\n\u003cp>Huge elk heads hang from the walls and stare longingly at a mix of locals and tourists eating burgers and drinking beer. In one corner (which I call the corner of death), a giant saw and other old mining equipment hangs precariously over bar patrons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most defining feature is the ceiling, which is completely covered in wadded-up dollar bills. Sitting at the bar, regular John Strusinski tells me the dollars were an insurance policy for miners going out to look for gold. “They wrote their name on [a bill] and they tacked it up on the ceiling, so when they came back, whether they had money or not, they were sure they had money for their first drink.”\u003c/p>\n\u003cp>Now, people willingly throw their money up on the ceiling to join the tradition.\u003c/p>\n\u003cfigure id=\"attachment_11071098\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071098\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg\" alt=\"The Iron Door Saloon's ceiling, covered in dollar bills.\" width=\"800\" height=\"1124\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-400x562.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-1180x1658.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-960x1349.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Iron Door Saloon's ceiling, covered once again with dollar bills. \u003ccite>(David Fulmer/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While we’re looking at the ceiling, Loh points out a few bullet holes. I ask when they’re from: perhaps a Gold Rush-era shootout?\u003c/p>\n\u003cp>Nah, Loh explains. They're from 1987.\u003c/p>\n\u003cp>Yikes. Apparently, it was a rough-and-tumble biker bar in the '80s until it got a new owner, Pete Barsotti. He was the artistic director and right-hand man to legendary rock-and-roll promoter Bill Graham.\u003c/p>\n\u003cp>Barsotti’s daughter, Corinna Loh, co-owns the bar with husband Chris. She says her dad was famous for designing crazy stunts at concerts.\u003c/p>\n\u003cp>“He thought it would be great to get a bunch of pingpong balls stamped with the Rolling Stones tongue, and then a bunch of blow-up dolls dropped out of an airplane over the stadium.”\u003c/p>\n\u003cp>Barsotti brought his creative flair to the Iron Door. It was his idea to bring back the dollars on the ceiling. He also made the bar a venue for live music, including Thursday night karaoke.\u003c/p>\n\u003cp>I graced the stage many times during my stint as a summer camp counselor near Yosemite during college. In fact, I even got kicked out once for dropping the mic. They take karaoke \u003cem>very\u003c/em> seriously here.\u003c/p>\n\u003cp>But what about the question of whether this bar is California’s oldest? Kathy Brown, from the \u003ca href=\"http://www.grovelandmuseum.com/\">Groveland Historical Museum\u003c/a>, says the original building from 1852 was definitely a supply shop for gold miners.\u003c/p>\n\u003cp>Brown says the legend is the store also had a makeshift bar. ”That would just be set up with a plank of wood over flour barrels, and they would serve whiskey to miners.” Brown explained. \"They probably would get pretty drunk. They worked hard, and that was their fluid intake.\"\u003c/p>\n\u003cfigure id=\"attachment_11071105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071105\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg\" alt=\"A photo of the Iron Door Saloon in Groveland, circa 1920. \" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-960x593.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the Iron Door Saloon in Groveland, circa 1920. \u003ccite>(Matt Beagle/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the original mercantile shop did start serving drinks in the 1850s, Brown says it’s almost impossible to prove whether it’s the oldest saloon still in operation in California. There were no liquor licenses back then, so you can't check that way. The Iron Door doesn’t show up on the Tuolumne County tax rolls until 1896.\u003c/p>\n\u003cp>Brown says another reason why the claim is questionable is because the building served as an official U.S. Post Office for about 25 years. Apparently, you can’t serve alcohol in a post office.\u003c/p>\n\u003cp>You also couldn’t sell booze during Prohibition, but the Door claims it did -- by calling itself a soft-drink establishment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, is the Iron Door the oldest continuously operating saloon in California? A few \u003ca href=\"http://smileyssaloon.com/\">other bars\u003c/a> around the state make similar claims that are similarly hard to prove. All we know for sure is that the Iron Door is old, and it’s still serving drinks. But a bar that’s been influenced by the Gold Rush, Yosemite National Park and rock 'n' roll is certainly unique to California.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just miles down the road from Yosemite, \u003ca href=\"http://www.iron-door-saloon.com/\">the Iron Door Saloon\u003c/a> in Groveland claims to be California’s oldest continuously operating bar.\u003c/p>\n\u003cp>It has served gold prospectors, loggers and workers coming to the Sierra Nevada for more than 150 years. Just like a majestic waterfall or granite peak, it’s a sight to behold.\u003c/p>\n\u003cp>The saloon is dark and cavernous, with the original granite walls from the 1850s. Two swinging cast-iron doors, shipped over from England, gave the bar its name. They also have protected it from forest fires over the years, allowing it to survive longer than other bars.\u003c/p>\n\u003cp>“The story was, when a fire raged through town, you just closed your doors and your stuff would be safe,” says owner Chris Loh.\u003c/p>\n\u003cp>Huge elk heads hang from the walls and stare longingly at a mix of locals and tourists eating burgers and drinking beer. In one corner (which I call the corner of death), a giant saw and other old mining equipment hangs precariously over bar patrons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most defining feature is the ceiling, which is completely covered in wadded-up dollar bills. Sitting at the bar, regular John Strusinski tells me the dollars were an insurance policy for miners going out to look for gold. “They wrote their name on [a bill] and they tacked it up on the ceiling, so when they came back, whether they had money or not, they were sure they had money for their first drink.”\u003c/p>\n\u003cp>Now, people willingly throw their money up on the ceiling to join the tradition.\u003c/p>\n\u003cfigure id=\"attachment_11071098\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071098\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg\" alt=\"The Iron Door Saloon's ceiling, covered in dollar bills.\" width=\"800\" height=\"1124\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-400x562.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-1180x1658.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-960x1349.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Iron Door Saloon's ceiling, covered once again with dollar bills. \u003ccite>(David Fulmer/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While we’re looking at the ceiling, Loh points out a few bullet holes. I ask when they’re from: perhaps a Gold Rush-era shootout?\u003c/p>\n\u003cp>Nah, Loh explains. They're from 1987.\u003c/p>\n\u003cp>Yikes. Apparently, it was a rough-and-tumble biker bar in the '80s until it got a new owner, Pete Barsotti. He was the artistic director and right-hand man to legendary rock-and-roll promoter Bill Graham.\u003c/p>\n\u003cp>Barsotti’s daughter, Corinna Loh, co-owns the bar with husband Chris. She says her dad was famous for designing crazy stunts at concerts.\u003c/p>\n\u003cp>“He thought it would be great to get a bunch of pingpong balls stamped with the Rolling Stones tongue, and then a bunch of blow-up dolls dropped out of an airplane over the stadium.”\u003c/p>\n\u003cp>Barsotti brought his creative flair to the Iron Door. It was his idea to bring back the dollars on the ceiling. He also made the bar a venue for live music, including Thursday night karaoke.\u003c/p>\n\u003cp>I graced the stage many times during my stint as a summer camp counselor near Yosemite during college. In fact, I even got kicked out once for dropping the mic. They take karaoke \u003cem>very\u003c/em> seriously here.\u003c/p>\n\u003cp>But what about the question of whether this bar is California’s oldest? Kathy Brown, from the \u003ca href=\"http://www.grovelandmuseum.com/\">Groveland Historical Museum\u003c/a>, says the original building from 1852 was definitely a supply shop for gold miners.\u003c/p>\n\u003cp>Brown says the legend is the store also had a makeshift bar. ”That would just be set up with a plank of wood over flour barrels, and they would serve whiskey to miners.” Brown explained. \"They probably would get pretty drunk. They worked hard, and that was their fluid intake.\"\u003c/p>\n\u003cfigure id=\"attachment_11071105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071105\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg\" alt=\"A photo of the Iron Door Saloon in Groveland, circa 1920. \" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-960x593.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the Iron Door Saloon in Groveland, circa 1920. \u003ccite>(Matt Beagle/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the original mercantile shop did start serving drinks in the 1850s, Brown says it’s almost impossible to prove whether it’s the oldest saloon still in operation in California. There were no liquor licenses back then, so you can't check that way. The Iron Door doesn’t show up on the Tuolumne County tax rolls until 1896.\u003c/p>\n\u003cp>Brown says another reason why the claim is questionable is because the building served as an official U.S. Post Office for about 25 years. Apparently, you can’t serve alcohol in a post office.\u003c/p>\n\u003cp>You also couldn’t sell booze during Prohibition, but the Door claims it did -- by calling itself a soft-drink establishment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, is the Iron Door the oldest continuously operating saloon in California? A few \u003ca href=\"http://smileyssaloon.com/\">other bars\u003c/a> around the state make similar claims that are similarly hard to prove. All we know for sure is that the Iron Door is old, and it’s still serving drinks. But a bar that’s been influenced by the Gold Rush, Yosemite National Park and rock 'n' roll is certainly unique to California.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jon Polito, the prolific and raspy-voiced character actor whose more than 200 credits ranged from \u003cem>Homicide: Life on the Street\u003c/em> and \u003cem>Modern Family\u003c/em> to the Coen Brother films \u003cem>Barton Fink\u003c/em> and \u003cem>The Big Lebowski\u003c/em>, has died.\u003c/p>\n\u003cp>Polito died Thursday at City of Hope Hospital in Duarte. California, according to his manager, Maryellen Mulcahy. Polito was 65 and was being treated for multiple myeloma, Mulcahy told The Associated Press on Friday. He is survived by his partner, Darryl Armbruster.\u003c/p>\n\u003cp>A native of Philadelphia and graduate of Villanova University, the short, mustachioed Polito had loved movies and television since childhood and was inspired by the over-the-top acting he first spotted in old horror films and melodramas. With no pretentions to being a leading man, he became one of the busiest TV and movie actors of the past three decades, averaging several projects a year since the mid-1980s. He worked in crime stories (\u003cem>Homicide: Life on the Street\u003c/em>, \u003cem>The Gangster Chronicles\u003c/em>), drama (\u003cem>Flags of Our Fathers\u003c/em>), comedies (\u003cem>The Freshman\u003c/em>, \u003cem>Modern Family\u003c/em>) and in the Coens’ genre-defying projects. He also was a award-winning stage actor, winning an Obie in 1980 for his performances with two different theater companies.\u003c/p>\n\u003cp>Mulcahy said he continued to act right up to the end of his life.\u003c/p>\n\u003cp>Even if you didn’t know his name, you probably saw his face, whether as the “private snoop” confronting Jeff Bridges in \u003cem>The Big Lebowski\u003c/em> or as the agitated landlord with the strands of hair across his forehead in the “Reverse Peephole” episode of \u003cem>Seinfeld\u003c/em>. He was dressed as a woman on “The Chris Isaak Show” and turned up once on “Late Night With David Letterman,” posing as CBS promotions man Phil Carmichael and explaining why Letterman’s recent heart problems were good for business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People think you’re going to die, Dave: Boom! Double your viewership.”\u003c/p>\n\u003cp>On the ground-breaking NBC drama \u003cem>Homicide: Life on the Street\u003c/em>, Polito played fussy, beleaguered Baltimore Police Detective Steve Crosetti. Partnered with Meldrick Lewis (played by Clark Johnson), Crosetti was on the force only for the first two seasons of the series’ seven-season run in the 1990s.\u003c/p>\n\u003cp>Creative revamping of the show prompted Crosetti to be written out at the start of season 3 — though only temporarily, the producers vowed — which spurred an angry Polito to complain to the media. For that, he was fired, which led to further outrage by the actor when his character, after several episodes’ unexplained absence, was said to have been found: A depressed Crosetti had committed suicide.\u003c/p>\n\u003cp>On several episodes of \u003cem>Modern Family\u003c/em>, Polito played the business archrival of Jay Pritchett (series regular Ed O’Neill).\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press television writer Frazier Moore in New York contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jon Polito, the prolific and raspy-voiced character actor whose more than 200 credits ranged from \u003cem>Homicide: Life on the Street\u003c/em> and \u003cem>Modern Family\u003c/em> to the Coen Brother films \u003cem>Barton Fink\u003c/em> and \u003cem>The Big Lebowski\u003c/em>, has died.\u003c/p>\n\u003cp>Polito died Thursday at City of Hope Hospital in Duarte. California, according to his manager, Maryellen Mulcahy. Polito was 65 and was being treated for multiple myeloma, Mulcahy told The Associated Press on Friday. He is survived by his partner, Darryl Armbruster.\u003c/p>\n\u003cp>A native of Philadelphia and graduate of Villanova University, the short, mustachioed Polito had loved movies and television since childhood and was inspired by the over-the-top acting he first spotted in old horror films and melodramas. With no pretentions to being a leading man, he became one of the busiest TV and movie actors of the past three decades, averaging several projects a year since the mid-1980s. He worked in crime stories (\u003cem>Homicide: Life on the Street\u003c/em>, \u003cem>The Gangster Chronicles\u003c/em>), drama (\u003cem>Flags of Our Fathers\u003c/em>), comedies (\u003cem>The Freshman\u003c/em>, \u003cem>Modern Family\u003c/em>) and in the Coens’ genre-defying projects. He also was a award-winning stage actor, winning an Obie in 1980 for his performances with two different theater companies.\u003c/p>\n\u003cp>Mulcahy said he continued to act right up to the end of his life.\u003c/p>\n\u003cp>Even if you didn’t know his name, you probably saw his face, whether as the “private snoop” confronting Jeff Bridges in \u003cem>The Big Lebowski\u003c/em> or as the agitated landlord with the strands of hair across his forehead in the “Reverse Peephole” episode of \u003cem>Seinfeld\u003c/em>. He was dressed as a woman on “The Chris Isaak Show” and turned up once on “Late Night With David Letterman,” posing as CBS promotions man Phil Carmichael and explaining why Letterman’s recent heart problems were good for business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People think you’re going to die, Dave: Boom! Double your viewership.”\u003c/p>\n\u003cp>On the ground-breaking NBC drama \u003cem>Homicide: Life on the Street\u003c/em>, Polito played fussy, beleaguered Baltimore Police Detective Steve Crosetti. Partnered with Meldrick Lewis (played by Clark Johnson), Crosetti was on the force only for the first two seasons of the series’ seven-season run in the 1990s.\u003c/p>\n\u003cp>Creative revamping of the show prompted Crosetti to be written out at the start of season 3 — though only temporarily, the producers vowed — which spurred an angry Polito to complain to the media. For that, he was fired, which led to further outrage by the actor when his character, after several episodes’ unexplained absence, was said to have been found: A depressed Crosetti had committed suicide.\u003c/p>\n\u003cp>On several episodes of \u003cem>Modern Family\u003c/em>, Polito played the business archrival of Jay Pritchett (series regular Ed O’Neill).\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press television writer Frazier Moore in New York contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/280972596″ 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>https://www.youtube.com/watch?v=–hus_Sq6k4\u003c/p>\n\u003cp>\u003cstrong>Sept. 7-11: \u003c/strong>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony (SFS)\u003c/a> kicks off the season with a few pop favorites, but also an 80th birthday tribute to \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">Steve Reich\u003c/a>, a pioneer of minimalism, and a former Mils College student. Skip the gala on Wednesday (though mezzo-soprano Susan Graham and soprana Rene Fleming will provide terrific ear candy), and catch one of the shows Friday through Sunday, when Reich will take a bigger share of the program. Conductor and Music Director Michael Tilson Thomas, a longtime champion of Reich and other American mavericks, has invited both the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> and \u003ca href=\"http://www.eighthblackbird.org/\" target=\"_blank\" rel=\"noopener\">Eighth Blackbird\u003c/a> to help out as they explore a classic set of Reich compositions including “Double Sextet,” “Three Movements,” “Six Marimbas and “Different Trains.” Minimalism was never more complex.\u003c/p>\n\u003cdiv class=\"work-credit program-item\">\n\u003cfigure id=\"attachment_12010490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg\" alt=\"Tracy Letts, author of 'August: Osage County'\" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1180x860.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1920x1400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-960x700.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Letts, author of ‘August: Osage County’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003cstrong>Sept. 8-Oct. 2:\u003c/strong> The Marin Theatre Company had a great season last year, and kicks off its 50th year with the challenging August: Osage County by Tracy Letts. This Pulitzer Prize winner is about a very dysfunctional family gathering in Oklahoma (“O’Neill for Okies” in one description), and is based on some Letts’ own family history. Don’t judge this based on the over-the-top Meryl Streep, Julia Roberts, Chris Cooper, Sam Shepard film. It’s a much more nuanced powerhouse on stage. Details \u003ca href=\"http://www.marintheatre.org/productions/august-osage-county\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OuVGbdiMmLY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 4:\u003c/strong> \u003ca href=\"https://thewhitepanda.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The White Panda\u003c/a> are two boyhood friends from Chicago who were easily distractable in college, and are now among the leading DJ duos in the country, specializing in mashups of pop, rock and hip hop hits. \u003cem>Entertainment Weekly\u003c/em> has called The White Panda “a veritable party machine,” with more than 100 million SoundCloud & YouTube streams. With great success comes great responsibility or not. Details for their show Sunday at The Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1201405-white-panda-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg\" alt=\"Tom Ammiano opens a new solo show at The Marsh in San Francisco\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-960x678.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Ammiano opens a new solo show at The Marsh in San Francisco \u003ccite>(Photo: Cody Pickens/The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 8-Oct. 15\u003c/strong>: Tom Ammiano is back on the stage in San Francisco. The former teacher, school board president, supervisor, and state assemblyman used to do standup at the now defunct Josies Cabaret in the Castro before running for public office. He’s a voice for LGBTQ rights, access to health care and other progressive causes throughout his political life, but also in his comedy work. You can hear his weakness for a punchline in this exchange where he explained how he educated his fellow lawmakers about sexual politics, including one Republican assemblywoman who insisted on saying being gay was a sexual preference: “And she kept saying on the floor, ‘sexual preference.’ And I did go up to her and said my sexual orientation is gay, but my sexual preference is Brad Pitt.” Details for the run of Ammiano’s show \u003cem>Mincing Words\u003c/em> at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yS2IBMQIjDo\u003c/p>\n\u003cp>\u003cstrong>Sept. 3-5:\u003c/strong> So maybe Labor Day is not our last chance for summer fun (summer ends Sept. 21, duh) but that’s the ritual, and we respect any ritual that demands we take in some live entertainment. So here are some choices:\u003c/p>\n\u003cp>Take the ferry to the annual Sausalito Art Festival, where the Squirrel Nut Zippers are on the bill with The Blind Boys of Alabahama, Charlie Musselwhite, and The Zombies (kind of zombified after 54 years of touring). Details \u003ca href=\"http://sausalitoartfestival.org/entertainment-2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Tradition also demands that we mention The Scottish Highland Games, where kilts and good beer are appreciated along with the caber tossing. Details for the two-day fest at the Alameda County Fairgrounds are \u003ca href=\"http://www.thescottishgames.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png\" alt=\"SF Comic Con \" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-400x147.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Comic Con \u003ccite>(Photo: Courtesy of San Francisco Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No rest for the geeks over Labor Day. \u003ca href=\"http://sanfrancomiccon.com/\" target=\"_blank\" rel=\"noopener\">Comic Con\u003c/a> comes to San Francisco for the first time, with \u003cem>\u003ca href=\"https://www.netflix.com/title/80002311\" target=\"_blank\" rel=\"noopener\">Jessica Jones\u003c/a> \u003c/em>star Kristyn Ritter, \u003cem>Star Wars\u003c/em> Emperor Ian McDiarmid, cartoonists \u003ca href=\"http://www.savagedragon.com/\" target=\"_blank\" rel=\"noopener\">Erik J. Larsen\u003c/a> (From \u003ca href=\"https://imagecomics.com/\" target=\"_blank\" rel=\"noopener\">Image Comics\u003c/a>) and Paolo Rivera (an Eisner winner), plus Comic Con will feature the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Cartoon Art Museum\u003c/a>, homeless now, but still active. Details here.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Cukui Music Festival \u003c/a>Saturday at Santa Clara’s Great America—with Reggae and R&B under the roller coaster. Ozomatli and Bayonics along with Tribal Seeds and others Details \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a Cheap Thrill!, try the Golden Gate Park Band at the Golden Gate Concourse on Sunday and Monday for free. Details \u003ca href=\"https://www.facebook.com/Golden-Gate-Park-Band-122062504515831/?hc_ref=PAGES_TIMELINE&fref=nf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12010884\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12010884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg\" alt=\"The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \" width=\"581\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band-400x267.jpg 400w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \u003ccite>(Photo: Image courtesy of Golden Gate Park Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/280972596″&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/280972596″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 7-11: \u003c/strong>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony (SFS)\u003c/a> kicks off the season with a few pop favorites, but also an 80th birthday tribute to \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">Steve Reich\u003c/a>, a pioneer of minimalism, and a former Mils College student. Skip the gala on Wednesday (though mezzo-soprano Susan Graham and soprana Rene Fleming will provide terrific ear candy), and catch one of the shows Friday through Sunday, when Reich will take a bigger share of the program. Conductor and Music Director Michael Tilson Thomas, a longtime champion of Reich and other American mavericks, has invited both the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> and \u003ca href=\"http://www.eighthblackbird.org/\" target=\"_blank\" rel=\"noopener\">Eighth Blackbird\u003c/a> to help out as they explore a classic set of Reich compositions including “Double Sextet,” “Three Movements,” “Six Marimbas and “Different Trains.” Minimalism was never more complex.\u003c/p>\n\u003cdiv class=\"work-credit program-item\">\n\u003cfigure id=\"attachment_12010490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg\" alt=\"Tracy Letts, author of 'August: Osage County'\" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1180x860.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1920x1400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-960x700.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Letts, author of ‘August: Osage County’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003cstrong>Sept. 8-Oct. 2:\u003c/strong> The Marin Theatre Company had a great season last year, and kicks off its 50th year with the challenging August: Osage County by Tracy Letts. This Pulitzer Prize winner is about a very dysfunctional family gathering in Oklahoma (“O’Neill for Okies” in one description), and is based on some Letts’ own family history. Don’t judge this based on the over-the-top Meryl Streep, Julia Roberts, Chris Cooper, Sam Shepard film. It’s a much more nuanced powerhouse on stage. Details \u003ca href=\"http://www.marintheatre.org/productions/august-osage-county\" 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/OuVGbdiMmLY'\n title='//www.youtube.com/embed/OuVGbdiMmLY'\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. 4:\u003c/strong> \u003ca href=\"https://thewhitepanda.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The White Panda\u003c/a> are two boyhood friends from Chicago who were easily distractable in college, and are now among the leading DJ duos in the country, specializing in mashups of pop, rock and hip hop hits. \u003cem>Entertainment Weekly\u003c/em> has called The White Panda “a veritable party machine,” with more than 100 million SoundCloud & YouTube streams. With great success comes great responsibility or not. Details for their show Sunday at The Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1201405-white-panda-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg\" alt=\"Tom Ammiano opens a new solo show at The Marsh in San Francisco\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-960x678.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Ammiano opens a new solo show at The Marsh in San Francisco \u003ccite>(Photo: Cody Pickens/The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 8-Oct. 15\u003c/strong>: Tom Ammiano is back on the stage in San Francisco. The former teacher, school board president, supervisor, and state assemblyman used to do standup at the now defunct Josies Cabaret in the Castro before running for public office. He’s a voice for LGBTQ rights, access to health care and other progressive causes throughout his political life, but also in his comedy work. You can hear his weakness for a punchline in this exchange where he explained how he educated his fellow lawmakers about sexual politics, including one Republican assemblywoman who insisted on saying being gay was a sexual preference: “And she kept saying on the floor, ‘sexual preference.’ And I did go up to her and said my sexual orientation is gay, but my sexual preference is Brad Pitt.” Details for the run of Ammiano’s show \u003cem>Mincing Words\u003c/em> at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\" 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/yS2IBMQIjDo'\n title='//www.youtube.com/embed/yS2IBMQIjDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 3-5:\u003c/strong> So maybe Labor Day is not our last chance for summer fun (summer ends Sept. 21, duh) but that’s the ritual, and we respect any ritual that demands we take in some live entertainment. So here are some choices:\u003c/p>\n\u003cp>Take the ferry to the annual Sausalito Art Festival, where the Squirrel Nut Zippers are on the bill with The Blind Boys of Alabahama, Charlie Musselwhite, and The Zombies (kind of zombified after 54 years of touring). Details \u003ca href=\"http://sausalitoartfestival.org/entertainment-2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Tradition also demands that we mention The Scottish Highland Games, where kilts and good beer are appreciated along with the caber tossing. Details for the two-day fest at the Alameda County Fairgrounds are \u003ca href=\"http://www.thescottishgames.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png\" alt=\"SF Comic Con \" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-400x147.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Comic Con \u003ccite>(Photo: Courtesy of San Francisco Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No rest for the geeks over Labor Day. \u003ca href=\"http://sanfrancomiccon.com/\" target=\"_blank\" rel=\"noopener\">Comic Con\u003c/a> comes to San Francisco for the first time, with \u003cem>\u003ca href=\"https://www.netflix.com/title/80002311\" target=\"_blank\" rel=\"noopener\">Jessica Jones\u003c/a> \u003c/em>star Kristyn Ritter, \u003cem>Star Wars\u003c/em> Emperor Ian McDiarmid, cartoonists \u003ca href=\"http://www.savagedragon.com/\" target=\"_blank\" rel=\"noopener\">Erik J. Larsen\u003c/a> (From \u003ca href=\"https://imagecomics.com/\" target=\"_blank\" rel=\"noopener\">Image Comics\u003c/a>) and Paolo Rivera (an Eisner winner), plus Comic Con will feature the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Cartoon Art Museum\u003c/a>, homeless now, but still active. Details here.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Cukui Music Festival \u003c/a>Saturday at Santa Clara’s Great America—with Reggae and R&B under the roller coaster. Ozomatli and Bayonics along with Tribal Seeds and others Details \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a Cheap Thrill!, try the Golden Gate Park Band at the Golden Gate Concourse on Sunday and Monday for free. Details \u003ca href=\"https://www.facebook.com/Golden-Gate-Park-Band-122062504515831/?hc_ref=PAGES_TIMELINE&fref=nf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12010884\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12010884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg\" alt=\"The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \" width=\"581\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band-400x267.jpg 400w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \u003ccite>(Photo: Image courtesy of Golden Gate Park Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The organizers behind the annual Sonoma Music Festival announced Wednesday that they have canceled this year’s event, which would have been its 30th, because of low ticket sales.\u003c/p>\n\u003cp>In an announcement posted on \u003ca href=\"http://www.sonomamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">sonomamusicfestival.com\u003c/a>, the promoters lamented that this year’s festival was “slated to be one of the best line-ups in its history, featuring John Fogerty, Steve Miller and Toby Keith.”\u003c/p>\n\u003cp>“Unfortunately, with the addition of an enormous festival at Coachella the same weekend and the following weekend with the Rolling Stones et. al., it is apparent that many of our long-time patrons chose to attend those events rather than our event,” the statement said. ” That circumstance has put our non-profit at a large financial loss jeopardizing our charitable efforts, therefore, we had no choice but to cancel.”\u003c/p>\n\u003cp>The festival was started by Bruce Cohn, founder of the \u003ca href=\"http://www.brcohn.com/\" target=\"_blank\" rel=\"noopener\">B.R. Cohn Winery\u003c/a> and a former manager of the Doobie Brothers, to raise funding for local charities. For the first 28 years, the festival was held on the grounds of the winery but last year, promoters moved the festival to Sonoma’s Field of Dreams, just blocks away from the city’s plaza. That year, with a lineup that included Chicago, Ringo Starr and the Doobie Brothers, the festival \u003ca href=\"http://www.winebusiness.com/news/?go=getArticle&dataid=158728\" target=\"_blank\" rel=\"noopener\">nearly sold out\u003c/a>.\u003c/p>\n\u003cp>Over 29 years, the festival has raised about $7 million for local and national charities such as \u003ca href=\"https://www.fisherhouse.org/\" target=\"_blank\" rel=\"noopener\">the Fisher House\u003c/a>, the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a> and \u003ca href=\"https://www.facebook.com/SonomaSplash/\" target=\"_blank\" rel=\"noopener\">Sonoma Splash.\u003c/a> Tickets this year ranged from \u003ca href=\"http://www.pressdemocrat.com/entertainment/5641038-181/john-fogerty-steve-miller-band?artslide=0\" target=\"_blank\" rel=\"noopener\">$89 to $600.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not every charitable music fest in the North Bay is struggling. The 9th annual Petaluma Music Festival, which was held at the Sonoma-Marin Fairgrounds in early August and raised funds for music programs at local schools, almost sold out. The Petaluma lineup included indie rockers such as Jackie Greene and Xavier Rudd, and tickets were far cheaper at \u003ca href=\"http://www.petalumamusicfestival.org/Tickets.asp\" target=\"_blank\" rel=\"noopener\">$45 to $110\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sonoma Music Festival organizers say refunds will be available starting Oct. 1, and they note that re-directing payments to Bruce Cohn Charity Events “would be most appreciated.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The organizers behind the annual Sonoma Music Festival announced Wednesday that they have canceled this year’s event, which would have been its 30th, because of low ticket sales.\u003c/p>\n\u003cp>In an announcement posted on \u003ca href=\"http://www.sonomamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">sonomamusicfestival.com\u003c/a>, the promoters lamented that this year’s festival was “slated to be one of the best line-ups in its history, featuring John Fogerty, Steve Miller and Toby Keith.”\u003c/p>\n\u003cp>“Unfortunately, with the addition of an enormous festival at Coachella the same weekend and the following weekend with the Rolling Stones et. al., it is apparent that many of our long-time patrons chose to attend those events rather than our event,” the statement said. ” That circumstance has put our non-profit at a large financial loss jeopardizing our charitable efforts, therefore, we had no choice but to cancel.”\u003c/p>\n\u003cp>The festival was started by Bruce Cohn, founder of the \u003ca href=\"http://www.brcohn.com/\" target=\"_blank\" rel=\"noopener\">B.R. Cohn Winery\u003c/a> and a former manager of the Doobie Brothers, to raise funding for local charities. For the first 28 years, the festival was held on the grounds of the winery but last year, promoters moved the festival to Sonoma’s Field of Dreams, just blocks away from the city’s plaza. That year, with a lineup that included Chicago, Ringo Starr and the Doobie Brothers, the festival \u003ca href=\"http://www.winebusiness.com/news/?go=getArticle&dataid=158728\" target=\"_blank\" rel=\"noopener\">nearly sold out\u003c/a>.\u003c/p>\n\u003cp>Over 29 years, the festival has raised about $7 million for local and national charities such as \u003ca href=\"https://www.fisherhouse.org/\" target=\"_blank\" rel=\"noopener\">the Fisher House\u003c/a>, the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a> and \u003ca href=\"https://www.facebook.com/SonomaSplash/\" target=\"_blank\" rel=\"noopener\">Sonoma Splash.\u003c/a> Tickets this year ranged from \u003ca href=\"http://www.pressdemocrat.com/entertainment/5641038-181/john-fogerty-steve-miller-band?artslide=0\" target=\"_blank\" rel=\"noopener\">$89 to $600.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not every charitable music fest in the North Bay is struggling. The 9th annual Petaluma Music Festival, which was held at the Sonoma-Marin Fairgrounds in early August and raised funds for music programs at local schools, almost sold out. The Petaluma lineup included indie rockers such as Jackie Greene and Xavier Rudd, and tickets were far cheaper at \u003ca href=\"http://www.petalumamusicfestival.org/Tickets.asp\" target=\"_blank\" rel=\"noopener\">$45 to $110\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sonoma Music Festival organizers say refunds will be available starting Oct. 1, and they note that re-directing payments to Bruce Cohn Charity Events “would be most appreciated.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Summer Recap: Ryan Lochte and Other White Dudes Are Teflon, Get Away with Everything",
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"content": "\u003cp>We're back from summer break! This week, we're talking Taylor Swift's downfall, Britney's comeback, why certain white men are like Teflon, and the history behind the no-white-after-Labor-Day rule.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/08/Teflon.mp3\" title=\"Summer Recap: Ryan Lochte and Other White Dudes Are Teflon, Get Away with Everything\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We start things off by breezing through all the pop culture goings-on we missed this summer, like how the whole world has turned on \u003ca href=\"https://ww2.kqed.org/pop/tag/taylor-swift/\">Taylor Swift\u003c/a>:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\">\u003cimg class=\"aligncenter size-full wp-image-34544\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\" alt=\"taylor swift no friends gif\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>How three of \u003ca href=\"https://ww2.kqed.org/pop/tag/spice-girls/\">the Spice Girls\u003c/a> are reuniting, without Sporty and Posh:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-34543\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\" alt=\"shut up geri spice girls victoria posh gif\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>How \u003cem>I Am Cait\u003c/em> has finally been cancelled:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\">\u003cimg class=\"aligncenter size-full wp-image-34536\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\" alt=\"evil kim smile gif\" width=\"245\" height=\"237\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4-32x32.gif 32w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp>How \u003ca href=\"https://ww2.kqed.org/pop/tag/britney-spears/\">Britney\u003c/a>'s new album is FIRE:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-34545\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\" alt=\"britney oops fire gif\" width=\"500\" height=\"339\">\u003c/a>\u003c/p>\n\u003cp>How Lifetime is trying to distract us from that fact with a rude TV movie about her life:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/08/24/lifetime-rudely-plans-tv-movie-based-on-the-life-of-britney-spears/\u003c/p>\n\u003cp>How Justin Timberlake is no good:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/08/17/when-will-justin-timberlake-stop-bringing-up-britneys-cheating-for-sympathy-never/\u003c/p>\n\u003cp>How Ryan Lochte is no good:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/08/19/roundup-smart-thoughts-on-ryan-lochte-and-white-privilege/\u003c/p>\n\u003cp>How Jared Leto is no good:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/179ab250-c373-0132-46b4-0e9062a7590a.gif\">\u003cimg class=\"aligncenter size-full wp-image-34546\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/179ab250-c373-0132-46b4-0e9062a7590a.gif\" alt=\"so over jordan catalano my so called life gif angela chase\" width=\"245\" height=\"188\">\u003c/a>\u003c/p>\n\u003cp>We hit the history books to figure out why wearing white after Labor Day is considered a no-no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/beatlesdancing.gif\">\u003cimg class=\"aligncenter size-full wp-image-34547\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/beatlesdancing.gif\" alt=\"beatles dancing white gif\" width=\"500\" height=\"357\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with \"Better,\" a song from Britney's new album, \u003cem>Glory\u003c/em>, which you should totally buy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Atrack%3A4zdRqJjndUXZZLDbjT1MuU\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>If you haven't already, please take our cute, little survey and let us know what you think of the show!\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/06/21/dear-listeners-of-the-cooler-please-take-our-cute-little-survey/\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We start things off by breezing through all the pop culture goings-on we missed this summer, like how the whole world has turned on \u003ca href=\"https://ww2.kqed.org/pop/tag/taylor-swift/\">Taylor Swift\u003c/a>:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\">\u003cimg class=\"aligncenter size-full wp-image-34544\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\" alt=\"taylor swift no friends gif\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>How three of \u003ca href=\"https://ww2.kqed.org/pop/tag/spice-girls/\">the Spice Girls\u003c/a> are reuniting, without Sporty and Posh:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-34543\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\" alt=\"shut up geri spice girls victoria posh gif\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>How \u003cem>I Am Cait\u003c/em> has finally been cancelled:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\">\u003cimg class=\"aligncenter size-full wp-image-34536\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\" alt=\"evil kim smile gif\" width=\"245\" height=\"237\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4-32x32.gif 32w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp>How \u003ca href=\"https://ww2.kqed.org/pop/tag/britney-spears/\">Britney\u003c/a>'s new album is FIRE:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-34545\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\" alt=\"britney oops fire gif\" width=\"500\" height=\"339\">\u003c/a>\u003c/p>\n\u003cp>How Lifetime is trying to distract us from that fact with a rude TV movie about her life:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How Justin Timberlake is no good:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How Jared Leto is no good:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/179ab250-c373-0132-46b4-0e9062a7590a.gif\">\u003cimg class=\"aligncenter size-full wp-image-34546\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/179ab250-c373-0132-46b4-0e9062a7590a.gif\" alt=\"so over jordan catalano my so called life gif angela chase\" width=\"245\" height=\"188\">\u003c/a>\u003c/p>\n\u003cp>We hit the history books to figure out why wearing white after Labor Day is considered a no-no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/beatlesdancing.gif\">\u003cimg class=\"aligncenter size-full wp-image-34547\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/beatlesdancing.gif\" alt=\"beatles dancing white gif\" width=\"500\" height=\"357\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with \"Better,\" a song from Britney's new album, \u003cem>Glory\u003c/em>, which you should totally buy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Atrack%3A4zdRqJjndUXZZLDbjT1MuU\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>If you haven't already, please take our cute, little survey and let us know what you think of the show!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>It seems Chris Brown can’t avoid trouble.\u003c/p>\n\u003cp>Following a bizarre, hours-long standoff with police, the “Deuces” and “Look At Me Now” singer was arrested Tuesday on suspicion of assault with a deadly weapon after a woman called police for help during a gathering at his Los Angeles home.\u003c/p>\n\u003cp>Model Baylee Curran later told the Los Angeles Times that Brown pointed a gun at her face after he and another man became angry with her when she admired the man’s diamond necklace.\u003c/p>\n\u003cp>It was the latest run-in with the law for the Grammy winning Brown, who has been in repeated legal trouble since his felony conviction in the 2009 assault of his then-girlfriend, Rihanna, ahead of the Grammys. He completed his probation last year in that case.\u003c/p>\n\u003cp>In the Tuesday incident, Brown was released from jail after posting $250,000 bail. His arraignment was tentatively set for Sept. 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The singer was arrested outside the view of news helicopters that swirled overhead and throngs of camera crews gathered at the bottom of his hilltop estate. It marked the conclusion of a nearly 14-hour standoff and investigation.\u003c/p>\n\u003cp>Police spokesman Lt. Chris Ramirez said officers first responded to Brown’s property in the Tarzana area of Los Angeles around 3 a.m. He did not identify the woman who called, elaborate on the assistance she needed, or know if she was injured.\u003c/p>\n\u003cp>Curran told the Times that she and her friend ran from the house and hid under an SUV as one of Brown’s associates gave chase.\u003c/p>\n\u003cp>The model, who hasn’t responded to requests for comment from The Associated Press, told TMZ she’s visited Brown’s home in the past and never encountered any trouble.\u003c/p>\n\u003cp>During the standoff that occurred while police awaited a search warrant, Brown later posted rambling messages on social media proclaiming his innocence and rebuffing reports that he barricaded himself in his “palace.”\u003c/p>\n\u003cp>“Y’all gonna stop playing with me like I’m the villain out here, like I’m going crazy,” he said in one Instagram video, waving a cigarette and looking at the camera. “When you get the warrant or whatever you need to do, you’re going to walk right up in here and you’re going to see nothing. You idiots.”\u003c/p>\n\u003cp>Brown’s attorney, Mark Geragos, arrived at the house before police served the warrant and stayed on the property until Brown was transported for booking.\u003c/p>\n\u003cp>“Thanks to everyone for their support and well wishes. Chris is out and well. The allegations against him are demonstrably false,” Geragos posted on Twitter after the singer posted bail.\u003c/p>\n\u003cp>The standoff and subsequent media attention provided a chaotic scene in typically quiet Tarzana as police closed off streets and rerouted traffic.\u003c/p>\n\u003cp>Throughout the afternoon, several of Brown’s associates descended to the street below Brown’s estate. They declined to identify themselves or answer questions from the media. In some instances, the men were belligerent, flashing obscene hand gestures and grabbing recording equipment.\u003c/p>\n\u003cp>In 2013, Brown struck a man outside a Washington, D.C., hotel and was charged with misdemeanor assault. The singer was ordered into rehab then dismissed from the facility for violating its rules.\u003c/p>\n\u003cp>Brown spent 2½ months in custody, with U.S. marshals shuttling him between Los Angeles and the nation’s capital for court hearings.\u003c/p>\n\u003cp>In another incident while in treatment, Brown was accused of throwing a brick at his mother’s car following a counseling session. It came after Brown completed court-ordered anger management classes.\u003c/p>\n\u003cp>Brown’s first single “Run It!” topped the charts in 2005. Since then, the singer and rapper has had a number of hit songs, including “Loyal” and “Kiss Kiss.” He has also been a featured performer on several hits, such as Jordin Sparks’ “No Air.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP writers Christopher Weber and Sandy Cohen contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"description": "Following a bizarre standoff with police, the singer was arrested on suspicion of assault with a deadly weapon",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems Chris Brown can’t avoid trouble.\u003c/p>\n\u003cp>Following a bizarre, hours-long standoff with police, the “Deuces” and “Look At Me Now” singer was arrested Tuesday on suspicion of assault with a deadly weapon after a woman called police for help during a gathering at his Los Angeles home.\u003c/p>\n\u003cp>Model Baylee Curran later told the Los Angeles Times that Brown pointed a gun at her face after he and another man became angry with her when she admired the man’s diamond necklace.\u003c/p>\n\u003cp>It was the latest run-in with the law for the Grammy winning Brown, who has been in repeated legal trouble since his felony conviction in the 2009 assault of his then-girlfriend, Rihanna, ahead of the Grammys. He completed his probation last year in that case.\u003c/p>\n\u003cp>In the Tuesday incident, Brown was released from jail after posting $250,000 bail. His arraignment was tentatively set for Sept. 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The singer was arrested outside the view of news helicopters that swirled overhead and throngs of camera crews gathered at the bottom of his hilltop estate. It marked the conclusion of a nearly 14-hour standoff and investigation.\u003c/p>\n\u003cp>Police spokesman Lt. Chris Ramirez said officers first responded to Brown’s property in the Tarzana area of Los Angeles around 3 a.m. He did not identify the woman who called, elaborate on the assistance she needed, or know if she was injured.\u003c/p>\n\u003cp>Curran told the Times that she and her friend ran from the house and hid under an SUV as one of Brown’s associates gave chase.\u003c/p>\n\u003cp>The model, who hasn’t responded to requests for comment from The Associated Press, told TMZ she’s visited Brown’s home in the past and never encountered any trouble.\u003c/p>\n\u003cp>During the standoff that occurred while police awaited a search warrant, Brown later posted rambling messages on social media proclaiming his innocence and rebuffing reports that he barricaded himself in his “palace.”\u003c/p>\n\u003cp>“Y’all gonna stop playing with me like I’m the villain out here, like I’m going crazy,” he said in one Instagram video, waving a cigarette and looking at the camera. “When you get the warrant or whatever you need to do, you’re going to walk right up in here and you’re going to see nothing. You idiots.”\u003c/p>\n\u003cp>Brown’s attorney, Mark Geragos, arrived at the house before police served the warrant and stayed on the property until Brown was transported for booking.\u003c/p>\n\u003cp>“Thanks to everyone for their support and well wishes. Chris is out and well. The allegations against him are demonstrably false,” Geragos posted on Twitter after the singer posted bail.\u003c/p>\n\u003cp>The standoff and subsequent media attention provided a chaotic scene in typically quiet Tarzana as police closed off streets and rerouted traffic.\u003c/p>\n\u003cp>Throughout the afternoon, several of Brown’s associates descended to the street below Brown’s estate. They declined to identify themselves or answer questions from the media. In some instances, the men were belligerent, flashing obscene hand gestures and grabbing recording equipment.\u003c/p>\n\u003cp>In 2013, Brown struck a man outside a Washington, D.C., hotel and was charged with misdemeanor assault. The singer was ordered into rehab then dismissed from the facility for violating its rules.\u003c/p>\n\u003cp>Brown spent 2½ months in custody, with U.S. marshals shuttling him between Los Angeles and the nation’s capital for court hearings.\u003c/p>\n\u003cp>In another incident while in treatment, Brown was accused of throwing a brick at his mother’s car following a counseling session. It came after Brown completed court-ordered anger management classes.\u003c/p>\n\u003cp>Brown’s first single “Run It!” topped the charts in 2005. Since then, the singer and rapper has had a number of hit songs, including “Loyal” and “Kiss Kiss.” He has also been a featured performer on several hits, such as Jordin Sparks’ “No Air.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP writers Christopher Weber and Sandy Cohen contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "election-season-getting-you-down-get-into-art",
"title": "Election Season Getting You Down? Get Into Art",
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"content": "\u003cp>OK. So you’ve had your fill of Clinton and Trump and it’s not even September yet. What to do? KQED’s crack team of arts aficionados are here to provide some much needed respite from election season madness with great suggestions of happenings across the Bay that will stimulate your brain, lift your soul, and move your body.\u003c/p>\n\u003cp>Look out for our fall cultural guides, launching next week across an array of areas from music and visual art to theater and dance. To whet your appetite, here are some suggestions that KQED’s senior arts editor, Chloe Veltman, shared with Michael Krasny on KQED \u003cem>Forum\u003c/em> on Tuesday, Aug. 30. You can listen to Chloe’s segment here, and/or read on for more details.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/280663460″ 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>CONCEPTUAL ART\u003cbr>\n\u003cstrong>Friday, Sep. 9 – Saturday, Dec. 10 \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/jill-magid-the-proposal\" target=\"_blank\" rel=\"noopener\">\u003cem>Jill Magid: The Proposal\u003c/em>\u003c/a> at San Francisco Art Institute, San Francisco\u003c/strong>\u003cbr>\nA fascinating and bizarre conceptual art project that tells the story of Brooklyn artist Jill Magid and her unflagging quest to repatriate the archive of famed Mexican architect Luis Barragán. Magid’s journey, which was chronicled in \u003ca href=\"http://www.newyorker.com/magazine/2016/08/01/how-luis-barragan-became-a-diamond\" target=\"_blank\" rel=\"noopener\">\u003cem>The New Yorker\u003c/em>\u003c/a>, involved growing a two-carat diamond from the architect’s cremated remains and setting it in a ring which she is using as a bartering tool to get the architect’s professional archive out of the hands of its current private owner and back into the public domain.\u003c/p>\n\u003cp>DANCE/MUSIC/VISUAL\u003cbr>\n\u003cstrong>Friday, Sep. 30 – Sunday, Oct. 2: Cal Performances, Mark Morris Dance Group and The Silk Road Ensemble present \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Layla and Majnun\u003c/em>\u003c/a> at Zellerbach Hall, Berkeley\u003c/strong>\u003cbr>\nAn A-List team of creators including choreographer Mark Morris and his dance company, painter Howard Hodgkin, Azerbaijani superstar singers Alim Qasimov and Fargana Qasimova, and the members of the world-famous music group, the Silk Road Ensemble, unite for this world premiere retelling of an ancient Persian love story through dance, music and colorful visuals. Like Romeo and Juliet, the couple at the center of this narrative are forbidden to wed. And things only spiral downwards from there.\u003c/p>\n\u003cfigure id=\"attachment_11968052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11968052\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-800x451.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova oin the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere performances of Layla and Majnun Friday, September 30 – Sunday, October 2, 2016 in Zellerbach Hall at UC Berkeley\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova oin the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere performances of Layla and Majnun Friday, September 30 – Sunday, October 2, 2016 in Zellerbach Hall at UC Berkeley \u003ccite>(Photo: David O'Connor )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>VISUAL\u003cbr>\n\u003cstrong>Saturday, Sept. 10 – Sunday, Dec. 18: FOR-SITE Foundation presents \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Land Security\u003c/em>\u003c/a> at Fort Winfield Scott, San Francisco\u003c/strong>\u003cbr>\nThe long disused military bunkers in The Presidio overlooking the Bay are the site of an art installation of works by artists from all over the world examining the complex way humans think about borders, privacy, and surveillance today. Masterminded by the team behind the successful Ai Wei on Alcatraz show a couple of years ago, this high-profile show features sculptures, sound art pieces and video installations by renowned art world figures like Liza Lou and Bill Viola.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">VISUAL, PERFORMANCE, FILM, TALKS, CONFERENCE ETC, OAKLAND\u003cbr>\n\u003c/span>\u003cb>Saturday, Oct. 8 – Sunday, Feb. 12: \u003c/b>\u003cb>\u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a> \u003c/i>at Oakland Museum of California, Oakland\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003cspan style=\"font-weight: 400\">October 2016 marks the 50th anniversary of the Black Panther Party in Oakland and the \u003c/span>\u003cspan style=\"font-weight: 400\">Oakland Museum is hosting a big exhibition examining the legacy of this controversial and influential political group, told from multiple perspectives. \u003c/span>\u003cspan style=\"font-weight: 400\">The show features, among other gems, rare historical artifacts like the original copy of the Panthers’ founding ten-point platform, and a video installation in which former Panthers share their recollections of life in the Party. \u003c/span>Oakland Museum is just one of many organizations creating artworks inspired by this anniversary. Also look out for \u003cspan style=\"font-weight: 400\">Dimensions Dance Theater’s \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">\u003cem>Project Panther\u003c/em>\u003c/a> (Oct 15 at Oakland’s Malonga Casquelourd Center for the Arts), \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>‘s events series exploring how the Panthers’ work influences the way people think about contemporary issues of equity , cultural identity, and social justice today, and more. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11997311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11997311\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-800x451.jpg\" alt=\"Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family\u003cbr>Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family \u003ccite>(Photo: Courtesy of Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MUSIC\u003cbr>\n\u003cstrong>Saturday, Oct. 15 – Sunday, Oct. 16: \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">\u003cem>Treasure Island Music Festival\u003c/em>\u003c/a>, Treasure Island\u003c/strong>\u003cbr>\nThis year marks the final year that this scenic music event will be presented on Treasure Island owing to oncoming development plans for the island. The 2016 lineup includes everything from hip-hop artists Young Thug and Ice Cube to indie stars James Blake and Sigur Ros. The organizers are looking for a new location for the festival.\u003c/p>\n\u003cp>PERFORMANCE ART\u003cbr>\n\u003cstrong>Wednesday, Sep. 14 – Aug 14: Nick Cave’s \u003ca href=\"https://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">\u003cem>Soundsuits\u003c/em>\u003c/a> at The Anderson Collection, Stanford\u003c/strong>\u003cbr>\nMultidisciplinary artist Nick Cave is best known for furry, multicolored, full-body sized sculptures known as “Soundsuits.” The suits are often worn as costumes and performed in. They are incredibly fun and tactile, kinda like a Wookiee fell into a cotton candy-making machine. But they also make a serious statement about identity because they completely conceal the wearer’s identity, hiding his or her race, gender, and age.\u003c/p>\n\u003cp>THEATER\u003cbr>\n\u003cstrong>Thursday, Oct. 13 – open ended run: \u003ca href=\"http://www.thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Speakeasy\u003c/em>\u003c/a> at secret venue near Chinatown and North Beach, San Francisco\u003c/strong>\u003cbr>\nThis long-anticipated immersive theater experience seeks to recreate the atmosphere of a 1920s speakeasy, complete with showgirls, gambling and secret passwords. A choose-your-own-adventure collection of character studies of a bunch of shady characters mobster and moll types, it all unfolds in a labyrinthine space in North Beach. Audiences are encouraged to dress up in period costume, and prepare lots of audience participation.\u003c/p>\n\u003cfigure id=\"attachment_11997314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11997314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-800x451.jpg\" alt=\"The Speakeasy. Megan Wicks as Velma.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Speakeasy. Megan Wicks as Velma. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DANCE\u003cbr>\n\u003cstrong>Thursday, Sep. 1 – Thursday, Oct. 20: City of San Jose presents \u003ca href=\"http://www.livesv.com/event/citydance-san-jose/\" target=\"_blank\" rel=\"noopener\">\u003cem>CityDance San Jose\u003c/em> \u003c/a>at Plaza de César Chávez, San Jose\u003c/strong>\u003cbr>\nThis weekly happy hour, outdoor dance party to live music is a great way to let off some steam as the weekend approaches. Instructors are on hand to help you perfect your moves across an array of genres, including the two-step, foxtrot, and merengue. The event features a beer garden and food trucks so you can stay fueled up while getting on down.\u003c/p>\n\u003cp>OPERA\u003cbr>\n\u003cstrong>Saturday, Sep. 10 – Thursday, Sep. 29: San Francisco Opera presents \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> at the War Memorial Opera House, San Francisco\u003c/strong>\u003cbr>\nThis world premiere opera is based on an 18th century literary masterpiece by Cao Xueqin — a massive epic in six volumes and featuring around 50 main characters — detailing a love triangle between an aristocratic young man and two very different women.\u003cbr>\nSan Francisco Opera has commissioned a quartet of A-list Asian artists for the project: Bright Sheng, one of the most important contemporary Chinese American composers; Tony Award-winning playwright, David Henry Hwang; Tim Yip, Academy Award-winning designer behind \u003cem>Crouching Tiger Hidden Dragon;\u003c/em> and famed Taiwanese director Stan Lai. Sung in English with Chinese and English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_11997318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11997318\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-800x451.jpg\" alt=\"Costume design for Bao Yu, one of the main characters in ‘Dream of the Red Chamber’, a San Francisco Opera world premiere. Designs by Tim Yip Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costume design for Bao Yu, one of the main characters in ‘Dream of the Red Chamber’, a San Francisco Opera world premiere. Designs by Tim Yip Studio. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MUSIC/THEATER\u003cbr>\n\u003cstrong>Saturday, Sep. 24 – Sunday, Sep 25: NapaShakes and Folger Shakespeare Library present \u003ca href=\"https://napashakes.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Measure + Dido\u003c/em>\u003c/a> at Lincoln Theater, Yountville and Green Music Center, Rohnert Park\u003c/strong>\u003cbr>\nSir Derek Jacobi, one of the world’s greatest classical stage performers, stars alongside actor-director Richard Clifford and members of the Folger Consort early music ensemble from Washington D.C. in an epic world premiere mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> and Purcell’s \u003cem>Dido and Aeneas\u003c/em>. The show moves to the Kennedy Center in October.\u003c/p>\n\u003cp>BLOCK PARTY\u003cbr>\n\u003cstrong>Monday, Sep. 5: \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hiero Day\u003c/em>\u003c/a>, 3rd Street & Chestnut Street, Oakland\u003c/strong>\u003cbr>\nIn only five years, this colorful street festival has risen to become a Bay Area Labor Day must. The event features family friendly activities, street art, and food trucks. But music is the biggest draw and this year’s lineup looks to be the best yet. It includes local talent like the Daly City DJ crew Invisibl Skratch Piklz and out of towners such as New Jersey’s Just Blaze who’s produced hits for the likes of Beyoncé, Kendrick Lamar, and Kanye West. \u003ca href=\"https://www.youtube.com/watch?v=rRfRmPqAkBo\" target=\"_blank\" rel=\"noopener\">This\u003c/a> KQED Arts’ video captures the spirit of last year’s event.\u003c/p>\n\u003cfigure id=\"attachment_10934831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10934831 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-800x450.jpg\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiero Day 2012. \u003ccite>( Photo: Hieroglyphics / Ineffable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>LITERARY/VISUAL/FILM/PERFORMANCE\u003cbr>\n\u003cstrong>Tuesday, Nov. 1 – Sunday, Nov. 13: City Lights presents \u003ca href=\"http://www.dadaworldfair.net/#cover-page\" target=\"_blank\" rel=\"noopener\">\u003cem>Dada World Fair\u003c/em>\u003c/a> in San Francisco\u003c/strong>\u003cbr>\nNovember 2016 marks the 100th anniversary of the founding at a cafe in Zurich Switzerland of the Dada Movement — the radical literary, performance and visual art movement which rocked western society in the early 20th century. This city-wide celebration of the emergence of Dada features lectures, performances, film screenings, and art installations from a range of participating artists like poet Chinaka Hodge, composer Luiciano Chessa and the all-male Leonard Cohen tribute choir Conspiracy of Beards.\u003c/p>\n\n",
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"excerpt": "If you need a way to escape the constant barrage of election hype this fall, just step away from the screen, get out, and sample some of the Bay Area’s many brilliant cultural offerings. ",
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"title": "Election Season Getting You Down? Get Into Art | KQED",
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"headline": "Election Season Getting You Down? Get Into Art",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK. So you’ve had your fill of Clinton and Trump and it’s not even September yet. What to do? KQED’s crack team of arts aficionados are here to provide some much needed respite from election season madness with great suggestions of happenings across the Bay that will stimulate your brain, lift your soul, and move your body.\u003c/p>\n\u003cp>Look out for our fall cultural guides, launching next week across an array of areas from music and visual art to theater and dance. To whet your appetite, here are some suggestions that KQED’s senior arts editor, Chloe Veltman, shared with Michael Krasny on KQED \u003cem>Forum\u003c/em> on Tuesday, Aug. 30. You can listen to Chloe’s segment here, and/or read on for more details.\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/280663460″&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/280663460″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>CONCEPTUAL ART\u003cbr>\n\u003cstrong>Friday, Sep. 9 – Saturday, Dec. 10 \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/jill-magid-the-proposal\" target=\"_blank\" rel=\"noopener\">\u003cem>Jill Magid: The Proposal\u003c/em>\u003c/a> at San Francisco Art Institute, San Francisco\u003c/strong>\u003cbr>\nA fascinating and bizarre conceptual art project that tells the story of Brooklyn artist Jill Magid and her unflagging quest to repatriate the archive of famed Mexican architect Luis Barragán. Magid’s journey, which was chronicled in \u003ca href=\"http://www.newyorker.com/magazine/2016/08/01/how-luis-barragan-became-a-diamond\" target=\"_blank\" rel=\"noopener\">\u003cem>The New Yorker\u003c/em>\u003c/a>, involved growing a two-carat diamond from the architect’s cremated remains and setting it in a ring which she is using as a bartering tool to get the architect’s professional archive out of the hands of its current private owner and back into the public domain.\u003c/p>\n\u003cp>DANCE/MUSIC/VISUAL\u003cbr>\n\u003cstrong>Friday, Sep. 30 – Sunday, Oct. 2: Cal Performances, Mark Morris Dance Group and The Silk Road Ensemble present \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Layla and Majnun\u003c/em>\u003c/a> at Zellerbach Hall, Berkeley\u003c/strong>\u003cbr>\nAn A-List team of creators including choreographer Mark Morris and his dance company, painter Howard Hodgkin, Azerbaijani superstar singers Alim Qasimov and Fargana Qasimova, and the members of the world-famous music group, the Silk Road Ensemble, unite for this world premiere retelling of an ancient Persian love story through dance, music and colorful visuals. Like Romeo and Juliet, the couple at the center of this narrative are forbidden to wed. And things only spiral downwards from there.\u003c/p>\n\u003cfigure id=\"attachment_11968052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11968052\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-800x451.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova oin the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere performances of Layla and Majnun Friday, September 30 – Sunday, October 2, 2016 in Zellerbach Hall at UC Berkeley\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-e1471905088167-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova oin the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere performances of Layla and Majnun Friday, September 30 – Sunday, October 2, 2016 in Zellerbach Hall at UC Berkeley \u003ccite>(Photo: David O'Connor )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>VISUAL\u003cbr>\n\u003cstrong>Saturday, Sept. 10 – Sunday, Dec. 18: FOR-SITE Foundation presents \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Land Security\u003c/em>\u003c/a> at Fort Winfield Scott, San Francisco\u003c/strong>\u003cbr>\nThe long disused military bunkers in The Presidio overlooking the Bay are the site of an art installation of works by artists from all over the world examining the complex way humans think about borders, privacy, and surveillance today. Masterminded by the team behind the successful Ai Wei on Alcatraz show a couple of years ago, this high-profile show features sculptures, sound art pieces and video installations by renowned art world figures like Liza Lou and Bill Viola.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">VISUAL, PERFORMANCE, FILM, TALKS, CONFERENCE ETC, OAKLAND\u003cbr>\n\u003c/span>\u003cb>Saturday, Oct. 8 – Sunday, Feb. 12: \u003c/b>\u003cb>\u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a> \u003c/i>at Oakland Museum of California, Oakland\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003cspan style=\"font-weight: 400\">October 2016 marks the 50th anniversary of the Black Panther Party in Oakland and the \u003c/span>\u003cspan style=\"font-weight: 400\">Oakland Museum is hosting a big exhibition examining the legacy of this controversial and influential political group, told from multiple perspectives. \u003c/span>\u003cspan style=\"font-weight: 400\">The show features, among other gems, rare historical artifacts like the original copy of the Panthers’ founding ten-point platform, and a video installation in which former Panthers share their recollections of life in the Party. \u003c/span>Oakland Museum is just one of many organizations creating artworks inspired by this anniversary. Also look out for \u003cspan style=\"font-weight: 400\">Dimensions Dance Theater’s \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">\u003cem>Project Panther\u003c/em>\u003c/a> (Oct 15 at Oakland’s Malonga Casquelourd Center for the Arts), \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>‘s events series exploring how the Panthers’ work influences the way people think about contemporary issues of equity , cultural identity, and social justice today, and more. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11997311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11997311\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-800x451.jpg\" alt=\"Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/OMCA-e1472507772379-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family\u003cbr>Emory Douglas, H. Rap Brown (Man with Match), 1967. Poster, 17 x 22 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family \u003ccite>(Photo: Courtesy of Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MUSIC\u003cbr>\n\u003cstrong>Saturday, Oct. 15 – Sunday, Oct. 16: \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">\u003cem>Treasure Island Music Festival\u003c/em>\u003c/a>, Treasure Island\u003c/strong>\u003cbr>\nThis year marks the final year that this scenic music event will be presented on Treasure Island owing to oncoming development plans for the island. The 2016 lineup includes everything from hip-hop artists Young Thug and Ice Cube to indie stars James Blake and Sigur Ros. The organizers are looking for a new location for the festival.\u003c/p>\n\u003cp>PERFORMANCE ART\u003cbr>\n\u003cstrong>Wednesday, Sep. 14 – Aug 14: Nick Cave’s \u003ca href=\"https://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">\u003cem>Soundsuits\u003c/em>\u003c/a> at The Anderson Collection, Stanford\u003c/strong>\u003cbr>\nMultidisciplinary artist Nick Cave is best known for furry, multicolored, full-body sized sculptures known as “Soundsuits.” The suits are often worn as costumes and performed in. They are incredibly fun and tactile, kinda like a Wookiee fell into a cotton candy-making machine. But they also make a serious statement about identity because they completely conceal the wearer’s identity, hiding his or her race, gender, and age.\u003c/p>\n\u003cp>THEATER\u003cbr>\n\u003cstrong>Thursday, Oct. 13 – open ended run: \u003ca href=\"http://www.thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Speakeasy\u003c/em>\u003c/a> at secret venue near Chinatown and North Beach, San Francisco\u003c/strong>\u003cbr>\nThis long-anticipated immersive theater experience seeks to recreate the atmosphere of a 1920s speakeasy, complete with showgirls, gambling and secret passwords. A choose-your-own-adventure collection of character studies of a bunch of shady characters mobster and moll types, it all unfolds in a labyrinthine space in North Beach. Audiences are encouraged to dress up in period costume, and prepare lots of audience participation.\u003c/p>\n\u003cfigure id=\"attachment_11997314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11997314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-800x451.jpg\" alt=\"The Speakeasy. Megan Wicks as Velma.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Speakeasy.-Megan-Wicks-as-Velma.-Photo-by-Peter-Liu-e1472508131838-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Speakeasy. Megan Wicks as Velma. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DANCE\u003cbr>\n\u003cstrong>Thursday, Sep. 1 – Thursday, Oct. 20: City of San Jose presents \u003ca href=\"http://www.livesv.com/event/citydance-san-jose/\" target=\"_blank\" rel=\"noopener\">\u003cem>CityDance San Jose\u003c/em> \u003c/a>at Plaza de César Chávez, San Jose\u003c/strong>\u003cbr>\nThis weekly happy hour, outdoor dance party to live music is a great way to let off some steam as the weekend approaches. Instructors are on hand to help you perfect your moves across an array of genres, including the two-step, foxtrot, and merengue. The event features a beer garden and food trucks so you can stay fueled up while getting on down.\u003c/p>\n\u003cp>OPERA\u003cbr>\n\u003cstrong>Saturday, Sep. 10 – Thursday, Sep. 29: San Francisco Opera presents \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> at the War Memorial Opera House, San Francisco\u003c/strong>\u003cbr>\nThis world premiere opera is based on an 18th century literary masterpiece by Cao Xueqin — a massive epic in six volumes and featuring around 50 main characters — detailing a love triangle between an aristocratic young man and two very different women.\u003cbr>\nSan Francisco Opera has commissioned a quartet of A-list Asian artists for the project: Bright Sheng, one of the most important contemporary Chinese American composers; Tony Award-winning playwright, David Henry Hwang; Tim Yip, Academy Award-winning designer behind \u003cem>Crouching Tiger Hidden Dragon;\u003c/em> and famed Taiwanese director Stan Lai. Sung in English with Chinese and English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_11997318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11997318\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-800x451.jpg\" alt=\"Costume design for Bao Yu, one of the main characters in ‘Dream of the Red Chamber’, a San Francisco Opera world premiere. Designs by Tim Yip Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bao-Yu-e1472508389958-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costume design for Bao Yu, one of the main characters in ‘Dream of the Red Chamber’, a San Francisco Opera world premiere. Designs by Tim Yip Studio. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MUSIC/THEATER\u003cbr>\n\u003cstrong>Saturday, Sep. 24 – Sunday, Sep 25: NapaShakes and Folger Shakespeare Library present \u003ca href=\"https://napashakes.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Measure + Dido\u003c/em>\u003c/a> at Lincoln Theater, Yountville and Green Music Center, Rohnert Park\u003c/strong>\u003cbr>\nSir Derek Jacobi, one of the world’s greatest classical stage performers, stars alongside actor-director Richard Clifford and members of the Folger Consort early music ensemble from Washington D.C. in an epic world premiere mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> and Purcell’s \u003cem>Dido and Aeneas\u003c/em>. The show moves to the Kennedy Center in October.\u003c/p>\n\u003cp>BLOCK PARTY\u003cbr>\n\u003cstrong>Monday, Sep. 5: \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hiero Day\u003c/em>\u003c/a>, 3rd Street & Chestnut Street, Oakland\u003c/strong>\u003cbr>\nIn only five years, this colorful street festival has risen to become a Bay Area Labor Day must. The event features family friendly activities, street art, and food trucks. But music is the biggest draw and this year’s lineup looks to be the best yet. It includes local talent like the Daly City DJ crew Invisibl Skratch Piklz and out of towners such as New Jersey’s Just Blaze who’s produced hits for the likes of Beyoncé, Kendrick Lamar, and Kanye West. \u003ca href=\"https://www.youtube.com/watch?v=rRfRmPqAkBo\" target=\"_blank\" rel=\"noopener\">This\u003c/a> KQED Arts’ video captures the spirit of last year’s event.\u003c/p>\n\u003cfigure id=\"attachment_10934831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10934831 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-800x450.jpg\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_2869378617_hiero_day_9.3.12-423_web-e1472508698713.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiero Day 2012. \u003ccite>( Photo: Hieroglyphics / Ineffable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LITERARY/VISUAL/FILM/PERFORMANCE\u003cbr>\n\u003cstrong>Tuesday, Nov. 1 – Sunday, Nov. 13: City Lights presents \u003ca href=\"http://www.dadaworldfair.net/#cover-page\" target=\"_blank\" rel=\"noopener\">\u003cem>Dada World Fair\u003c/em>\u003c/a> in San Francisco\u003c/strong>\u003cbr>\nNovember 2016 marks the 100th anniversary of the founding at a cafe in Zurich Switzerland of the Dada Movement — the radical literary, performance and visual art movement which rocked western society in the early 20th century. This city-wide celebration of the emergence of Dada features lectures, performances, film screenings, and art installations from a range of participating artists like poet Chinaka Hodge, composer Luiciano Chessa and the all-male Leonard Cohen tribute choir Conspiracy of Beards.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A judge has dismissed the key claims in a lawsuit alleging that headphone maker Beats Electronics duped one of its early partners before negotiating its $3 billion sale to Apple two years ago.\u003c/p>\n\u003cp>The summary judgment issued late Monday by Los Angeles Superior Court Judge William Fahey resolves the heart of a case that accused Beats co-founders Dr. Dre and Jimmy Iovine of double-crossing former partner Noel Lee, founder of video and audio cable maker Monster LLC.\u003c/p>\n\u003cp>The allegations, made in a lawsuit filed last year, had been scheduled to go to trial next week. Now the trial will be limited to Beats’ effort to force Monster to pay its attorney fees and other costs.\u003c/p>\n\u003cp>Apple declined to comment on the ruling, but Beats has always maintained Monster’s lawsuit was frivolous.\u003c/p>\n\u003cp>Monster attorney Philip Gregory didn’t respond to requests for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee once held a 5 percent stake in Beats as part of a partnership between the headphone maker and Monster that ended in 2012. The lawsuit alleged Dre, a former rap singer whose real name is Andre Young, and Iovine, a former record producer, orchestrated a “sham” deal with smartphone maker HTC in 2011 that led to the termination of the Monster alliance.\u003c/p>\n\u003cp>But Fahey concluded that Beats’ actions were allowed under the contracts that Lee and Monster had entered into as sophisticated investors.\u003c/p>\n\u003cp>The lawsuit had alleged Beats’ misrepresentations had caused Lee to sell his remaining 1.25 percent stake for $5.5 million in 2013. That would have been worth more than $30 million had he owned it at the time of Beat’s sale to Apple Inc. Lee’s original stake would have landed him roughly $150 million.\u003c/p>\n\u003cp>Fahey also dismissed Monster’s claims alleging misconduct by HTC America and Paul Wachter, a Beats investor and board member.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A judge has dismissed the key claims in a lawsuit alleging that headphone maker Beats Electronics duped one of its early partners before negotiating its $3 billion sale to Apple two years ago.\u003c/p>\n\u003cp>The summary judgment issued late Monday by Los Angeles Superior Court Judge William Fahey resolves the heart of a case that accused Beats co-founders Dr. Dre and Jimmy Iovine of double-crossing former partner Noel Lee, founder of video and audio cable maker Monster LLC.\u003c/p>\n\u003cp>The allegations, made in a lawsuit filed last year, had been scheduled to go to trial next week. Now the trial will be limited to Beats’ effort to force Monster to pay its attorney fees and other costs.\u003c/p>\n\u003cp>Apple declined to comment on the ruling, but Beats has always maintained Monster’s lawsuit was frivolous.\u003c/p>\n\u003cp>Monster attorney Philip Gregory didn’t respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee once held a 5 percent stake in Beats as part of a partnership between the headphone maker and Monster that ended in 2012. The lawsuit alleged Dre, a former rap singer whose real name is Andre Young, and Iovine, a former record producer, orchestrated a “sham” deal with smartphone maker HTC in 2011 that led to the termination of the Monster alliance.\u003c/p>\n\u003cp>But Fahey concluded that Beats’ actions were allowed under the contracts that Lee and Monster had entered into as sophisticated investors.\u003c/p>\n\u003cp>The lawsuit had alleged Beats’ misrepresentations had caused Lee to sell his remaining 1.25 percent stake for $5.5 million in 2013. That would have been worth more than $30 million had he owned it at the time of Beat’s sale to Apple Inc. Lee’s original stake would have landed him roughly $150 million.\u003c/p>\n\u003cp>Fahey also dismissed Monster’s claims alleging misconduct by HTC America and Paul Wachter, a Beats investor and board member.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "He Died at 32, But a Young Artist Lives on in LA's Underground Museum",
"headTitle": "He Died at 32, But a Young Artist Lives on in LA’s Underground Museum | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/491843106/491848126\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It’s a sweltering night in July\u003cstrong> \u003c/strong>and Los Angeles’ \u003ca href=\"http://theunderground-museum.org/\">Underground Museum\u003c/a> is packed. “It’s crowded and hot, but it feels really good,” says vistor Jazzi McGilbert. Like much of the crowd, McGilbert is young, creative and African-American. She drove across town to this unassuming, bunkerlike storefront for an event that combines art and activism. The museum is one of her favorite spots in Los Angeles. “I like what it stands for,” McGilbert says. “… And the art is incredible.”\u003c/p>\n\u003cfigure id=\"attachment_12001276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg\" alt=\"David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12001276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Underground Museum aims to promote cutting-edge African-American art, but inclusiveness is also part of its mission. “This is a black space,” a message on the museum door reads, “but all are welcome.”\u003c/p>\n\u003cp>When artist Noah Davis founded the museum, he wanted to do two things: sidestep the existing gallery system, with its rigid hierarchies and gatekeepers, and bring world-class art to a neighborhood he likened to a food desert, meaning no grocery stores \u003cem>or\u003c/em> museums. Davis died a year ago Monday of a rare form of cancer.\u003c/p>\n\u003cp>\u003cstrong>A beyond audacious request \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Davis began working on the museum, he was a rising art world star with powerful friends, like Helen Molesworth, chief curator of the Museum of Contemporary Art, Los Angeles. Molesworth remembers when Davis first asked for her help.\u003c/p>\n\u003cp>“He wasn’t asking for, you know, someone to help him with the marketing … he was asking us for the art,” she says. In other words, he was asking the museum to lend him whatever he wanted from its valuable collection — a beyond audacious request.\u003c/p>\n\u003cp>“No one had ever asked like that before,” Molesworth says. She was intrigued by the idea that an institution like hers could help bring art to people who might not otherwise see it. But she didn’t just hand over MOCA’s art — first she helped Davis upgrade the Underground Museum’s security and HVAC system to protect the art. Then she left it alone.\u003c/p>\n\u003cp>“I know how to make a museum,” Molesworth says. “I don’t know how to make an underground museum.”\u003c/p>\n\u003cp>Noah Davis did. When he died from cancer, he was only 32 years old. He left instructions for the next 18 shows, but they’re mostly just concepts, titles and lists of the works he wanted to display. In the wake of his death, Megan Steinman joined as the museum’s director. She understood their goal of challenging what museums can be.\u003c/p>\n\u003cfigure id=\"attachment_12001281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece-800x313.jpg\" alt=\"The three faces that appear in Kerry James Marshall's 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work here.\" width=\"800\" height=\"313\" class=\"size-medium wp-image-12001281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-768x300.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The three faces that appear in Kerry James Marshall’s 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work \u003ch href=\"https://vimeo.com/45605233\" target>here. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/h>\u003c/figcaption>\u003c/figure>\n\u003cp>“Museums are gorgeous,” Steinman says, “but they also come with this idea of how you’re supposed to be and how you’re supposed to stand and how loud you’re supposed to be and if you can talk or not.” Also: whether you can afford the entrance fee and how hard it is to get there. “And then you get there and it’s like massive walls and these cavernous spaces,” she says, “and it’s like all these things that are telling your mind how to think before you even get to the artwork itself.”\u003c/p>\n\u003cp>The artwork at the Underground Museum is cutting-edge and often conceptual. One work features wallpaper that shows a lynching. Noah Davis hung a photograph on top of it — a haunting, real-life portrait of a lynching victim’s wife in the American South from 1949.\u003c/p>\n\u003cp>“The look in her eyes — that grief, that pain — you can just feel her heart and her soul in this photograph,” says Karon Davis, Noah Davis’ widow and the museum’s co-founder.\u003c/p>\n\u003cfigure id=\"attachment_12001278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg\" alt=\"Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober's 1989 <em>Hanging Man/Sleeping Man</em> screen-printed wallpaper.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12001278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober’s 1989 \u003cem>Hanging Man/Sleeping Man\u003c/em> screen-printed wallpaper. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Noah’s magnum opus’\u003c/strong>\u003c/p>\n\u003cp>Karon Davis is also Los Angeles royalty: She’s the daughter of actor Ben Vereen and part of an electric circle of black artists and intellectuals. (That circle includes her late husband’s brother, Kahlil Joseph, who co-directed Beyoncé’s visual album \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp>But the Underground Museum is resolutely down to earth — like a community center that just happens to show art by giant stars, like Kerry James Marshall. (Marshall is about to have a major retrospective at New York’s Metropolitan Museum of Art, but he lent some personal work to the Underground Museum show.) There are yoga classes and a spacious outside garden where people in the neighborhood are encouraged to hang out and read. It’s called the Purple Garden because, Karon Davis explains, her late husband thought everyone should be treated like royalty.\u003c/p>\n\u003cp>Steinman says Noah Davis’ legacy is what’s keeping the Underground Museum alive. “This space is Noah’s magnum opus. It is his biggest installation work; it’s his gift. And now he’s not here and now we all get to still keep on being in conversation with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a conversation in which no one gets the last word. Unlike most museums, Noah Davis didn’t put text on the walls to tell people what to think of the art he chose — art about perseverance, racial violence, family and resistance. He trusted visitors to decide for themselves. \u003c/p>\n\u003cfigure id=\"attachment_12001282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-800x280.jpg\" alt=\"Kara Walker uses striking, black-and-white silhouettes in her 1995 work The Means to an End...A Shadow Drama in Five Acts.\" width=\"800\" height=\"280\" class=\"size-medium wp-image-12001282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-400x140.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-768x269.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kara Walker uses striking, black-and-white silhouettes in her 1995 work \u003cem>The Means to an End…A Shadow Drama in Five Acts.\u003c/em> \u003ccite>(Photo: Museum of Contemporary Art Los Angeles/The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=He+Died+At+32%2C+But+A+Young+Artist+Lives+On+In+LA%27s+Underground+Museum&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/491843106/491848126\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It’s a sweltering night in July\u003cstrong> \u003c/strong>and Los Angeles’ \u003ca href=\"http://theunderground-museum.org/\">Underground Museum\u003c/a> is packed. “It’s crowded and hot, but it feels really good,” says vistor Jazzi McGilbert. Like much of the crowd, McGilbert is young, creative and African-American. She drove across town to this unassuming, bunkerlike storefront for an event that combines art and activism. The museum is one of her favorite spots in Los Angeles. “I like what it stands for,” McGilbert says. “… And the art is incredible.”\u003c/p>\n\u003cfigure id=\"attachment_12001276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg\" alt=\"David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12001276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Underground Museum aims to promote cutting-edge African-American art, but inclusiveness is also part of its mission. “This is a black space,” a message on the museum door reads, “but all are welcome.”\u003c/p>\n\u003cp>When artist Noah Davis founded the museum, he wanted to do two things: sidestep the existing gallery system, with its rigid hierarchies and gatekeepers, and bring world-class art to a neighborhood he likened to a food desert, meaning no grocery stores \u003cem>or\u003c/em> museums. Davis died a year ago Monday of a rare form of cancer.\u003c/p>\n\u003cp>\u003cstrong>A beyond audacious request \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Davis began working on the museum, he was a rising art world star with powerful friends, like Helen Molesworth, chief curator of the Museum of Contemporary Art, Los Angeles. Molesworth remembers when Davis first asked for her help.\u003c/p>\n\u003cp>“He wasn’t asking for, you know, someone to help him with the marketing … he was asking us for the art,” she says. In other words, he was asking the museum to lend him whatever he wanted from its valuable collection — a beyond audacious request.\u003c/p>\n\u003cp>“No one had ever asked like that before,” Molesworth says. She was intrigued by the idea that an institution like hers could help bring art to people who might not otherwise see it. But she didn’t just hand over MOCA’s art — first she helped Davis upgrade the Underground Museum’s security and HVAC system to protect the art. Then she left it alone.\u003c/p>\n\u003cp>“I know how to make a museum,” Molesworth says. “I don’t know how to make an underground museum.”\u003c/p>\n\u003cp>Noah Davis did. When he died from cancer, he was only 32 years old. He left instructions for the next 18 shows, but they’re mostly just concepts, titles and lists of the works he wanted to display. In the wake of his death, Megan Steinman joined as the museum’s director. She understood their goal of challenging what museums can be.\u003c/p>\n\u003cfigure id=\"attachment_12001281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece-800x313.jpg\" alt=\"The three faces that appear in Kerry James Marshall's 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work here.\" width=\"800\" height=\"313\" class=\"size-medium wp-image-12001281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-768x300.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The three faces that appear in Kerry James Marshall’s 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work \u003ch href=\"https://vimeo.com/45605233\" target>here. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/h>\u003c/figcaption>\u003c/figure>\n\u003cp>“Museums are gorgeous,” Steinman says, “but they also come with this idea of how you’re supposed to be and how you’re supposed to stand and how loud you’re supposed to be and if you can talk or not.” Also: whether you can afford the entrance fee and how hard it is to get there. “And then you get there and it’s like massive walls and these cavernous spaces,” she says, “and it’s like all these things that are telling your mind how to think before you even get to the artwork itself.”\u003c/p>\n\u003cp>The artwork at the Underground Museum is cutting-edge and often conceptual. One work features wallpaper that shows a lynching. Noah Davis hung a photograph on top of it — a haunting, real-life portrait of a lynching victim’s wife in the American South from 1949.\u003c/p>\n\u003cp>“The look in her eyes — that grief, that pain — you can just feel her heart and her soul in this photograph,” says Karon Davis, Noah Davis’ widow and the museum’s co-founder.\u003c/p>\n\u003cfigure id=\"attachment_12001278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg\" alt=\"Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober's 1989 <em>Hanging Man/Sleeping Man</em> screen-printed wallpaper.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12001278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober’s 1989 \u003cem>Hanging Man/Sleeping Man\u003c/em> screen-printed wallpaper. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Noah’s magnum opus’\u003c/strong>\u003c/p>\n\u003cp>Karon Davis is also Los Angeles royalty: She’s the daughter of actor Ben Vereen and part of an electric circle of black artists and intellectuals. (That circle includes her late husband’s brother, Kahlil Joseph, who co-directed Beyoncé’s visual album \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp>But the Underground Museum is resolutely down to earth — like a community center that just happens to show art by giant stars, like Kerry James Marshall. (Marshall is about to have a major retrospective at New York’s Metropolitan Museum of Art, but he lent some personal work to the Underground Museum show.) There are yoga classes and a spacious outside garden where people in the neighborhood are encouraged to hang out and read. It’s called the Purple Garden because, Karon Davis explains, her late husband thought everyone should be treated like royalty.\u003c/p>\n\u003cp>Steinman says Noah Davis’ legacy is what’s keeping the Underground Museum alive. “This space is Noah’s magnum opus. It is his biggest installation work; it’s his gift. And now he’s not here and now we all get to still keep on being in conversation with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a conversation in which no one gets the last word. Unlike most museums, Noah Davis didn’t put text on the walls to tell people what to think of the art he chose — art about perseverance, racial violence, family and resistance. He trusted visitors to decide for themselves. \u003c/p>\n\u003cfigure id=\"attachment_12001282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-800x280.jpg\" alt=\"Kara Walker uses striking, black-and-white silhouettes in her 1995 work The Means to an End...A Shadow Drama in Five Acts.\" width=\"800\" height=\"280\" class=\"size-medium wp-image-12001282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-400x140.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-768x269.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kara Walker uses striking, black-and-white silhouettes in her 1995 work \u003cem>The Means to an End…A Shadow Drama in Five Acts.\u003c/em> \u003ccite>(Photo: Museum of Contemporary Art Los Angeles/The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=He+Died+At+32%2C+But+A+Young+Artist+Lives+On+In+LA%27s+Underground+Museum&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "massive-victrola-brings-analog-touch-to-tech-infused-burning-man",
"title": "Massive Victrola Brings Analog Touch to Tech-Infused Burning Man",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/280484108″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>A huge metal door creaked open a few weeks ago, shedding light on a massive art project under construction at the giant \u003ca href=\"http://americansteelstudios.com/\" target=\"_blank\" rel=\"noopener\">American Steel Studios\u003c/a> in West Oakland. A dozen or so volunteers were riveting steel plates together to form the horn of a giant gramophone that, when finished, will stand 35 feet high and weigh thousands of pounds.\u003c/p>\n\u003cfigure id=\"attachment_11984700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/001-800x496.jpg\" alt='Volunteers get more light as they rivet perforated steel plates together for \"La Victrola\"' width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-1920x1191.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-960x596.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers get more light as they rivet perforated steel plates together for “La Victrola” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://burningman.org/\" target=\"_blank\" rel=\"noopener\">Burning Man,\u003c/a> the famed annual festival of fire, high-tech, and art underway this week in \u003ca href=\"http://blackrockdesert.org/about-the-black-rock-desert-playa/\" target=\"_blank\" rel=\"noopener\">Nevada’s Black Rock Desert\u003c/a>, is featuring “\u003ca href=\"http://www.lavictrola2016.com/\" target=\"_blank\" rel=\"noopener\">La Victrola,\u003c/a>” an art project that hearkens back to our analog past. The piece is named for the \u003ca href=\"http://www.victor-victrola.com/History%20of%20the%20Victor%20Phonograph.htm\" target=\"_blank\" rel=\"noopener\">crank up turntables\u003c/a> that played records in the early 20th century.\u003c/p>\n\u003cp>“The age of Victrolas (made by the Victor Talking Machine Co.) was a very different time,” says Nick Fynn, one of a trio of Burning Man regulars who conceived the project. “In those days people had to gather around the piano to hear music, and gramophones were rare at first. So the big picture behind this piece is to think about what we’ve lost with extreme digital music and digital entertainment.”\u003c/p>\n\u003cp>Fynn says the art piece is meant to make people think about the downside of our digital world. “These days, everyone walks around with their cellphone in front of their face, playing \u003ca href=\"http://www.pokemongo.com/\" target=\"_blank\" rel=\"noopener\">Pokemon Go\u003c/a>, not even seeing where they’re going,” Fynn says.\u003c/p>\n\u003cfigure id=\"attachment_11984704\" class=\"wp-caption alignnone\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11984704 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/005-e1472504130456-692x600.jpg\" alt='A gramophone used by the \"La Victrola\" crew for inspiration as they worked' width=\"692\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-692x600.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-400x347.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-1180x1024.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-1920x1666.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-960x833.jpg 960w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">A gramophone used by the “La Victrola” crew for inspiration as they worked \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The base of the gramophone, Fynn says, will be a stage for acoustic performance — ragtime and blues — at a festival better known for electronica and other dance music. “I think it’s really kind of epic and beautiful and offers an alternative to the soundscape of Burning Man,” says \u003ca href=\"http://journal.burningman.org/2015/11/news/official-announcements/kim-cook-hired-as-burning-mans-director-of-art-civic-engagement/\" target=\"_blank\" rel=\"noopener\">Kim Cook\u003c/a>, the director of art and civic engagement for Burning Man, headquartered in San Francisco’s Mission District.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fynn admits that the horn of the massive sculpture won’t really amplify the music as it did for the original Victrolas. “We’re using perforated steel for the horn,” Fynn says. “We need to let a lot of air pass through, because out on the Playa, we get extremely high winds. Otherwise, the horn could turn into an extremely dangerous, heavy sail.” The Playa is prone to gusts of up to 70 miles an hour.\u003c/p>\n\u003cp>Nearly 30 volunteers, with skills ranging from engineering to metalwork, donated their skills and labor to design and build “La Victrola.” But Cook also notes that’s how most festival projects get built, and it’s a good thing.\u003c/p>\n\u003cp>“This approach to creating work together is one of the most beautiful things that Burning Man has to offer the world,” Cook says. “Things that would be impossible by yourself become possible as something you do together.”\u003c/p>\n\u003cfigure id=\"attachment_11984701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/002-800x476.jpg\" alt=\"Artist Analy Nakat designed a series of art deco posters for the body of the gramophone \" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-960x571.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Analy Nakat designed a series of art deco posters for the body of the gramophone \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“La Victrola” is just one of around 300 art projects unfolding at Burning Man. But Fynn says “La Victrola” won’t be finished this year, despite the $90,000, crowd-funded budget. “In some sense it’s a leap of faith,” Fynn says. “But the project is so strong, it keeps drawing people in, and every time you don’t know what’s going to happen next, a door you didn’t even know existed opens.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fynn says he’s sure they’ll be able to raise the funds they need to finish the project, in plenty of time for Burning Man 2017.\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/280484108″&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/280484108″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A huge metal door creaked open a few weeks ago, shedding light on a massive art project under construction at the giant \u003ca href=\"http://americansteelstudios.com/\" target=\"_blank\" rel=\"noopener\">American Steel Studios\u003c/a> in West Oakland. A dozen or so volunteers were riveting steel plates together to form the horn of a giant gramophone that, when finished, will stand 35 feet high and weigh thousands of pounds.\u003c/p>\n\u003cfigure id=\"attachment_11984700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/001-800x496.jpg\" alt='Volunteers get more light as they rivet perforated steel plates together for \"La Victrola\"' width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-1920x1191.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/001-960x596.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers get more light as they rivet perforated steel plates together for “La Victrola” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://burningman.org/\" target=\"_blank\" rel=\"noopener\">Burning Man,\u003c/a> the famed annual festival of fire, high-tech, and art underway this week in \u003ca href=\"http://blackrockdesert.org/about-the-black-rock-desert-playa/\" target=\"_blank\" rel=\"noopener\">Nevada’s Black Rock Desert\u003c/a>, is featuring “\u003ca href=\"http://www.lavictrola2016.com/\" target=\"_blank\" rel=\"noopener\">La Victrola,\u003c/a>” an art project that hearkens back to our analog past. The piece is named for the \u003ca href=\"http://www.victor-victrola.com/History%20of%20the%20Victor%20Phonograph.htm\" target=\"_blank\" rel=\"noopener\">crank up turntables\u003c/a> that played records in the early 20th century.\u003c/p>\n\u003cp>“The age of Victrolas (made by the Victor Talking Machine Co.) was a very different time,” says Nick Fynn, one of a trio of Burning Man regulars who conceived the project. “In those days people had to gather around the piano to hear music, and gramophones were rare at first. So the big picture behind this piece is to think about what we’ve lost with extreme digital music and digital entertainment.”\u003c/p>\n\u003cp>Fynn says the art piece is meant to make people think about the downside of our digital world. “These days, everyone walks around with their cellphone in front of their face, playing \u003ca href=\"http://www.pokemongo.com/\" target=\"_blank\" rel=\"noopener\">Pokemon Go\u003c/a>, not even seeing where they’re going,” Fynn says.\u003c/p>\n\u003cfigure id=\"attachment_11984704\" class=\"wp-caption alignnone\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11984704 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/005-e1472504130456-692x600.jpg\" alt='A gramophone used by the \"La Victrola\" crew for inspiration as they worked' width=\"692\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-692x600.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-400x347.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-1180x1024.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-1920x1666.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/005-e1472504130456-960x833.jpg 960w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">A gramophone used by the “La Victrola” crew for inspiration as they worked \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The base of the gramophone, Fynn says, will be a stage for acoustic performance — ragtime and blues — at a festival better known for electronica and other dance music. “I think it’s really kind of epic and beautiful and offers an alternative to the soundscape of Burning Man,” says \u003ca href=\"http://journal.burningman.org/2015/11/news/official-announcements/kim-cook-hired-as-burning-mans-director-of-art-civic-engagement/\" target=\"_blank\" rel=\"noopener\">Kim Cook\u003c/a>, the director of art and civic engagement for Burning Man, headquartered in San Francisco’s Mission District.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fynn admits that the horn of the massive sculpture won’t really amplify the music as it did for the original Victrolas. “We’re using perforated steel for the horn,” Fynn says. “We need to let a lot of air pass through, because out on the Playa, we get extremely high winds. Otherwise, the horn could turn into an extremely dangerous, heavy sail.” The Playa is prone to gusts of up to 70 miles an hour.\u003c/p>\n\u003cp>Nearly 30 volunteers, with skills ranging from engineering to metalwork, donated their skills and labor to design and build “La Victrola.” But Cook also notes that’s how most festival projects get built, and it’s a good thing.\u003c/p>\n\u003cp>“This approach to creating work together is one of the most beautiful things that Burning Man has to offer the world,” Cook says. “Things that would be impossible by yourself become possible as something you do together.”\u003c/p>\n\u003cfigure id=\"attachment_11984701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/002-800x476.jpg\" alt=\"Artist Analy Nakat designed a series of art deco posters for the body of the gramophone \" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/002-960x571.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Analy Nakat designed a series of art deco posters for the body of the gramophone \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“La Victrola” is just one of around 300 art projects unfolding at Burning Man. But Fynn says “La Victrola” won’t be finished this year, despite the $90,000, crowd-funded budget. “In some sense it’s a leap of faith,” Fynn says. “But the project is so strong, it keeps drawing people in, and every time you don’t know what’s going to happen next, a door you didn’t even know existed opens.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fynn says he’s sure they’ll be able to raise the funds they need to finish the project, in plenty of time for Burning Man 2017.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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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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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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