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"bio": "Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>",
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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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"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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"description": "When Noah Davis founded the museum, he wanted to bring world-class art to a neighborhood he likened to a food desert, meaning no grocery stores or museums. Davis died a year ago Monday.",
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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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"headTitle": "Massive Victrola Brings Analog Touch to Tech-Infused Burning Man | KQED",
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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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"excerpt": "A 35-foot-high sculpture of an old-fashioned gramophone built by dozens of volunteers will play blues and ragtime at the festival, reminding attendees that there's more to life than electronic dance music and Pokemon Go.",
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"title": "Massive Victrola Brings Analog Touch to Tech-Infused Burning Man | KQED",
"description": "A 35-foot-high sculpture of an old-fashioned gramophone built by dozens of volunteers will play blues and ragtime at the festival, reminding attendees that there's more to life than electronic dance music and Pokemon Go.",
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"headline": "Massive Victrola Brings Analog Touch to Tech-Infused Burning Man",
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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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"title": "VIDEO: Derek Jacobi in Napa, Mark Morris in Berkeley and More",
"headTitle": "VIDEO: Derek Jacobi in Napa, Mark Morris in Berkeley and More | KQED",
"content": "\u003cp>\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>https://www.youtube.com/watch?v=xJ2BLyrNuA4\u003c/p>\n\u003cp>\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>\nThis fascinating and bizarre conceptual art project tells the story of Brooklyn artist Jill Magid and her unflagging quest to repatriate the archive of famed Mexican architect Luis Barragán by growing a two-carat diamond from the architect’s cremated remains and setting it in a ring that is on permanent offer to the private owner of Barragán’s professional archive in exchange for returning the archive to the family and Mexican government. The artifacts on view at the Art Institute, which include the diamond ring and a video of the exhumation, raise all kinds of questions to do with artistic legacy and public/private ownership.\u003c/p>\n\u003cfigure id=\"attachment_11968233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11968233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg\" alt=\"'Jill Magid: The Proposal' (detail), 2016 Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Jill Magid: The Proposal’ (detail), 2016\u003cbr>Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris. \u003ccite>(Photo: Kunst Halle Sankt Gallen/Stefan Jaeggi.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\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\u003cp>https://www.youtube.com/watch?v=bS8ztsh6jt4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Sep. 23 – Sunday, Sep. 25: Paul Dresher Ensemble presents \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">\u003cem>Schick Machine\u003c/em>\u003c/a> at Z Space, San Francisco\u003c/strong>\u003cbr>\nVirtuoso percussionist Steven Schick is set loose on a stage packed with inventor-composer Paul Dresher’s fantastical, homemade musical instruments. These include the Hurdy Grande (a hurdy gurdy on steroids), the Peacock (a deconstructed pipe organ) and other creations brought forth from Dresher’s imagination.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYVMrCD-W04\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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\n",
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"excerpt": "KQED Newsroom host Thuy Vu and senior arts editor Chloe Veltman discuss the latest local arts news headlines and look at upcoming cultural happenings around the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\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>\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/xJ2BLyrNuA4'\n title='//www.youtube.com/embed/xJ2BLyrNuA4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\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>\nThis fascinating and bizarre conceptual art project tells the story of Brooklyn artist Jill Magid and her unflagging quest to repatriate the archive of famed Mexican architect Luis Barragán by growing a two-carat diamond from the architect’s cremated remains and setting it in a ring that is on permanent offer to the private owner of Barragán’s professional archive in exchange for returning the archive to the family and Mexican government. The artifacts on view at the Art Institute, which include the diamond ring and a video of the exhumation, raise all kinds of questions to do with artistic legacy and public/private ownership.\u003c/p>\n\u003cfigure id=\"attachment_11968233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11968233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg\" alt=\"'Jill Magid: The Proposal' (detail), 2016 Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Jill Magid: The Proposal’ (detail), 2016\u003cbr>Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris. \u003ccite>(Photo: Kunst Halle Sankt Gallen/Stefan Jaeggi.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\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>\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/bS8ztsh6jt4'\n title='//www.youtube.com/embed/bS8ztsh6jt4'\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>Friday, Sep. 23 – Sunday, Sep. 25: Paul Dresher Ensemble presents \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">\u003cem>Schick Machine\u003c/em>\u003c/a> at Z Space, San Francisco\u003c/strong>\u003cbr>\nVirtuoso percussionist Steven Schick is set loose on a stage packed with inventor-composer Paul Dresher’s fantastical, homemade musical instruments. These include the Hurdy Grande (a hurdy gurdy on steroids), the Peacock (a deconstructed pipe organ) and other creations brought forth from Dresher’s imagination.\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/PYVMrCD-W04'\n title='//www.youtube.com/embed/PYVMrCD-W04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"disqusTitle": "Burning Man Artists Haul Gutted 747 Jetliner to Desert",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>A peculiar sight emerges from the Nevada desert floor: a Boeing 747, sliced in half lengthways. If you step out of the emergency exit, you'll find yourself in a poof of playa dust, amid the hubbub of \u003ca href=\"http://burningman.org/\">Burning Man\u003c/a>, which begins this Sunday.\u003c/p>\n\u003cp>The airplane is a refugee of sorts, born as an idea and pulled from the hundreds of decommissioned planes at the \u003ca href=\"http://www.michaeljohngrist.com/2009/10/airplane-boneyard-in-the-mojave-desert/\">Mojave Boneyard \u003c/a>in California's high desert.\u003c/p>\n\u003cp>Volunteers have spent the last few months working on what's known as the \u003ca href=\"http://www.bigimagination.org/747\">747 Project\u003c/a> at the \u003ca href=\"http://www.mojaveairport.com/\">Mojave Air and Space Port\u003c/a>, about halfway between Bakersfield and Barstow. They've been transforming the jetliner into what they hope will be the world's largest mobile art installation.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/280101563\" 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>On a recent Thursday, work crews and volunteers used a forklift to move metal beams into place so the plane could be lifted onto the back of a semi truck to make the 500-mile trek up the spine of California, along the eastern Sierra Nevada, to the arts festival in Nevada known for its burning centerpiece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Only the top half of the plane would make the trip this year -- all that was the cabin -- phase one of the 747 Project. The tail is gone. The wings have been clipped. The inside has been cleaned out, leaving a cavernous, seat-less tube with its metal ribs exposed. It's a half football field long and three stories tall. One volunteer jokes that you could fit another plane inside it.\u003c/p>\n\u003cp>The goal is to eventually take the entire plane up to Burning Man.\u003c/p>\n\u003cp>\"How do you eat an elephant? A little bit at a time,\" Ken Feldman jokes. He is the CEO of the \u003ca href=\"http://www.bigimagination.org/\">Big Imagination Foundation\u003c/a>, the nonprofit arts organization that is funding the project with donations and an \u003ca href=\"https://www.indiegogo.com/projects/the-747-project--2#/\">IndieGoGo campaign\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11062199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg\" alt=\"747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plane will be decorated with lights, with DJs playing music and people dancing inside. But as with so many other art projects at Burning Man, this one is interactive.\u003c/p>\n\u003cp>\"You come up through the cargo bay and you come to another staircase and at the top of that is the 'insecurity checkpoint,' where our TSA agents -- Touching Sensitive Areas -- will pat you down and help you get rid of your insecurities,\" Feldman explains. \"Then you move to the baggage check, where another flight attendant will ask you, 'Do you have any emotional baggage that you want to drop off?' \"\u003c/p>\n\u003cp>Then it's on to the boarding zone, where a flight attendant asks where you're going.\u003c/p>\n\u003cp>\"And if someone says, 'Oh, I want to go to Disneyland!' It's like, 'No, no, no: Where, where are you going in \u003cem>life?\u003c/em> Where do you want to go?' And we give you a boarding pass, where you write down on the boarding pass where you are headed.\" Feldman says.\u003c/p>\n\u003cp>Then you staple your boarding pass onto the \"Destination Wall.\"\u003c/p>\n\u003cp>\"The flight attendant gives you a little airplane wings, gives you a little hug and sets you on your way,\" Feldman smiles.\u003c/p>\n\u003cp>Feldman came up with the idea during his second year at Burning Man a few years ago when he saw two bicycles made of fuel tanks of fighter jets. He sketched out the idea in the dust on the ground. His friends told him he was crazy. But seven years later, they're helping him with the plane.\u003c/p>\n\u003cp>Feldman says the idea is to use this interactive art to inspire people to dream big, much like the plane itself -- \"to make the world a better place, right? That's the ultimate inspiration.\"\u003c/p>\n\u003cp>Volunteer Nick Avila drove down from San Francisco to help with the plane. On this particular day, he's troubleshooting how to secure seats in the cockpit and trying to figure out how to rig fake cockpit instruments to do things when people press buttons and take the controls.\u003c/p>\n\u003cfigure id=\"attachment_11062202\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062202\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg\" alt=\"A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"All this stuff is hopefully going to work. Like you can come and pull the throttle up, down.\" Avila shows how the throttle controls move. \"Probably shouldn't move the landing gear thing, but you can move that around. So it'll be cool.\"\u003c/p>\n\u003cp>Avila says the 747 Project is part of the Burning Man tradition of \u003ca href=\"https://www.youtube.com/watch?v=_A8OTGapssc\">art cars\u003c/a>, which people at the festival call \u003ca href=\"http://burningman.org/event/black-rock-city-guide/infrastructure/dept-of-mutant-vehicles/\">\"mutant vehicles.\" \u003c/a> They're basically any vehicle, from bicycles to buses, made to look like something else, like \u003ca href=\"https://www.youtube.com/watch?v=c00w9ec2OF0\">pirate ships\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qMtKtGIw4c8\">dragons\u003c/a> and even \u003ca href=\"https://www.youtube.com/watch?v=zRL9dDHLh1I\">unicorns\u003c/a>.\u003c/p>\n\u003cp>Avila has worked on one art car project before, \u003ca href=\"https://www.facebook.com/BeezusChristSuperCar/?hc_ref=SEARCH&fref=nf\">Beezus Christ Super Car\u003c/a>, a utility cart turned into a bee. He said it was \"1/100th of the size\" of the 747 Project.\u003c/p>\n\u003cp>\"And we would serve honey out the back and preach the teachings of Beezus Christ over a megaphone,\" Avila remembers. \"So it was kind of like a fake religious thing and also we would just give out honey to people. You know, taste the body of Beezus Christ.\"\u003c/p>\n\u003cp>Avila laughs. He says it's the ridiculousness of it all that he loves.\u003c/p>\n\u003cp>\"To me, it's about bringing cool things out that you built for no real reason, other than just to bring it there and share it with people,\" Avila says, pointing out that he has his own ridiculous theme camp at Burning Man this year. It serves coffee and spankings. And it's called \u003ca href=\"https://playaevents.burningman.org/2016/playa_event/20472\">Scarbutts\u003c/a>.\u003c/p>\n\u003cp>\"It's just like almost anything you could ever imagine is going to end up being there eventually,\" Avila says.\u003c/p>\n\u003cp>Next year, Big Imagination plans to bring up the bottom half of the plane, bolt it back to the top and drive it around Burning Man with an airport tug.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Keru McKenzie of Ridgecrest, who's been working on the plane several days a week for the past few weeks, says he's excited to see it come to life in the Nevada desert. \"It's the people and the art and the interaction. It's different than going to a concert or a music festival where you sit in the audience. You know, they might stand and wave and clap and what not. But at Burning Man, you're actually out there being. You're part of the theater.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A peculiar sight emerges from the Nevada desert floor: a Boeing 747, sliced in half lengthways. If you step out of the emergency exit, you'll find yourself in a poof of playa dust, amid the hubbub of \u003ca href=\"http://burningman.org/\">Burning Man\u003c/a>, which begins this Sunday.\u003c/p>\n\u003cp>The airplane is a refugee of sorts, born as an idea and pulled from the hundreds of decommissioned planes at the \u003ca href=\"http://www.michaeljohngrist.com/2009/10/airplane-boneyard-in-the-mojave-desert/\">Mojave Boneyard \u003c/a>in California's high desert.\u003c/p>\n\u003cp>Volunteers have spent the last few months working on what's known as the \u003ca href=\"http://www.bigimagination.org/747\">747 Project\u003c/a> at the \u003ca href=\"http://www.mojaveairport.com/\">Mojave Air and Space Port\u003c/a>, about halfway between Bakersfield and Barstow. They've been transforming the jetliner into what they hope will be the world's largest mobile art installation.\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/280101563&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/280101563'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent Thursday, work crews and volunteers used a forklift to move metal beams into place so the plane could be lifted onto the back of a semi truck to make the 500-mile trek up the spine of California, along the eastern Sierra Nevada, to the arts festival in Nevada known for its burning centerpiece.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Only the top half of the plane would make the trip this year -- all that was the cabin -- phase one of the 747 Project. The tail is gone. The wings have been clipped. The inside has been cleaned out, leaving a cavernous, seat-less tube with its metal ribs exposed. It's a half football field long and three stories tall. One volunteer jokes that you could fit another plane inside it.\u003c/p>\n\u003cp>The goal is to eventually take the entire plane up to Burning Man.\u003c/p>\n\u003cp>\"How do you eat an elephant? A little bit at a time,\" Ken Feldman jokes. He is the CEO of the \u003ca href=\"http://www.bigimagination.org/\">Big Imagination Foundation\u003c/a>, the nonprofit arts organization that is funding the project with donations and an \u003ca href=\"https://www.indiegogo.com/projects/the-747-project--2#/\">IndieGoGo campaign\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11062199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg\" alt=\"747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plane will be decorated with lights, with DJs playing music and people dancing inside. But as with so many other art projects at Burning Man, this one is interactive.\u003c/p>\n\u003cp>\"You come up through the cargo bay and you come to another staircase and at the top of that is the 'insecurity checkpoint,' where our TSA agents -- Touching Sensitive Areas -- will pat you down and help you get rid of your insecurities,\" Feldman explains. \"Then you move to the baggage check, where another flight attendant will ask you, 'Do you have any emotional baggage that you want to drop off?' \"\u003c/p>\n\u003cp>Then it's on to the boarding zone, where a flight attendant asks where you're going.\u003c/p>\n\u003cp>\"And if someone says, 'Oh, I want to go to Disneyland!' It's like, 'No, no, no: Where, where are you going in \u003cem>life?\u003c/em> Where do you want to go?' And we give you a boarding pass, where you write down on the boarding pass where you are headed.\" Feldman says.\u003c/p>\n\u003cp>Then you staple your boarding pass onto the \"Destination Wall.\"\u003c/p>\n\u003cp>\"The flight attendant gives you a little airplane wings, gives you a little hug and sets you on your way,\" Feldman smiles.\u003c/p>\n\u003cp>Feldman came up with the idea during his second year at Burning Man a few years ago when he saw two bicycles made of fuel tanks of fighter jets. He sketched out the idea in the dust on the ground. His friends told him he was crazy. But seven years later, they're helping him with the plane.\u003c/p>\n\u003cp>Feldman says the idea is to use this interactive art to inspire people to dream big, much like the plane itself -- \"to make the world a better place, right? That's the ultimate inspiration.\"\u003c/p>\n\u003cp>Volunteer Nick Avila drove down from San Francisco to help with the plane. On this particular day, he's troubleshooting how to secure seats in the cockpit and trying to figure out how to rig fake cockpit instruments to do things when people press buttons and take the controls.\u003c/p>\n\u003cfigure id=\"attachment_11062202\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062202\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg\" alt=\"A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"All this stuff is hopefully going to work. Like you can come and pull the throttle up, down.\" Avila shows how the throttle controls move. \"Probably shouldn't move the landing gear thing, but you can move that around. So it'll be cool.\"\u003c/p>\n\u003cp>Avila says the 747 Project is part of the Burning Man tradition of \u003ca href=\"https://www.youtube.com/watch?v=_A8OTGapssc\">art cars\u003c/a>, which people at the festival call \u003ca href=\"http://burningman.org/event/black-rock-city-guide/infrastructure/dept-of-mutant-vehicles/\">\"mutant vehicles.\" \u003c/a> They're basically any vehicle, from bicycles to buses, made to look like something else, like \u003ca href=\"https://www.youtube.com/watch?v=c00w9ec2OF0\">pirate ships\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qMtKtGIw4c8\">dragons\u003c/a> and even \u003ca href=\"https://www.youtube.com/watch?v=zRL9dDHLh1I\">unicorns\u003c/a>.\u003c/p>\n\u003cp>Avila has worked on one art car project before, \u003ca href=\"https://www.facebook.com/BeezusChristSuperCar/?hc_ref=SEARCH&fref=nf\">Beezus Christ Super Car\u003c/a>, a utility cart turned into a bee. He said it was \"1/100th of the size\" of the 747 Project.\u003c/p>\n\u003cp>\"And we would serve honey out the back and preach the teachings of Beezus Christ over a megaphone,\" Avila remembers. \"So it was kind of like a fake religious thing and also we would just give out honey to people. You know, taste the body of Beezus Christ.\"\u003c/p>\n\u003cp>Avila laughs. He says it's the ridiculousness of it all that he loves.\u003c/p>\n\u003cp>\"To me, it's about bringing cool things out that you built for no real reason, other than just to bring it there and share it with people,\" Avila says, pointing out that he has his own ridiculous theme camp at Burning Man this year. It serves coffee and spankings. And it's called \u003ca href=\"https://playaevents.burningman.org/2016/playa_event/20472\">Scarbutts\u003c/a>.\u003c/p>\n\u003cp>\"It's just like almost anything you could ever imagine is going to end up being there eventually,\" Avila says.\u003c/p>\n\u003cp>Next year, Big Imagination plans to bring up the bottom half of the plane, bolt it back to the top and drive it around Burning Man with an airport tug.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keru McKenzie of Ridgecrest, who's been working on the plane several days a week for the past few weeks, says he's excited to see it come to life in the Nevada desert. \"It's the people and the art and the interaction. It's different than going to a concert or a music festival where you sit in the audience. You know, they might stand and wave and clap and what not. But at Burning Man, you're actually out there being. You're part of the theater.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Author Dennis Cooper took on Google over the removal of his long-running blog, and after two months, he’s emerged as a victor: the Goliath of the Internet is giving it back.\u003c/p>\n\u003cp>Cooper, best known for the gritty, drugs-and-sex-fueled series of novels called the \u003ca href=\"http://www.dennis-cooper.net/georgemiles.htm\" target=\"_blank\" rel=\"noopener\">George Miles cycle\u003c/a>, has published regularly on his blog \u003ci>\u003ca href=\"http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">The Weaklings\u003c/a> (\u003c/i>also known as \u003ci>DC’s Blog\u003c/i>) since 2002. But on June 27, he discovered that his blog had vanished. In its place was a note from Google, which hosted it, telling Cooper that his site had been shut down.\u003c/p>\n\u003cp>“They have never said or sent one word to me about what has happened or why,” Cooper said at the time. “I can only guess: either because they had some objection to something I posted on my blog, or it was hacked, or technical problem, or some accident that disabled my account.”\u003c/p>\n\u003cp>When KQED asked why Google removed his blog, the company sent a formulaic response:\u003c/p>\n\u003cblockquote>\u003cp>Thank you for getting in touch. We’re aware of this matter and not able to comment on specific user accounts. Here’s a link to our \u003ca href=\"https://www.google.com/policies/terms/\" target=\"_blank\" rel=\"noopener\">Terms of Service\u003c/a>, \u003ca href=\"https://www.google.com/intl/en_us/mail/help/program_policies.html\" target=\"_blank\" rel=\"noopener\">Gmail Policy\u003c/a> and \u003ca href=\"https://www.blogger.com/content.g?hl=en\" target=\"_blank\" rel=\"noopener\">Blogger Policy\u003c/a>.\u003c/p>\n\u003cp>Best,\u003c/p>\n\u003cp>The Google Press Team\u003c/p>\u003c/blockquote>\n\u003cp>They did not answer any follow up questions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perplexed, Cooper began reaching out to the press. He said he was worried that he had lost more than 10 years of irreplaceable compositions when his blog was taken down. The losses included two early examples of GIF novels (novels consisting purely of animated GIFs), one of which, \u003ci>Zac’s Haunted House, \u003c/i>had garnered the writer \u003ca href=\"http://www.newyorker.com/books/page-turner/how-dennis-cooper-creates-fiction-from-gifs\" target=\"_blank\" rel=\"noopener\">critical\u003c/a> \u003ca href=\"http://www.theverge.com/2015/1/16/7556041/dennis-cooper-gif-novel-zacs-haunted-house\" target=\"_blank\" rel=\"noopener\">acclaim\u003c/a>. So Cooper lawyered up and continued to push Google to allow him to at least retrieve his archives.\u003c/p>\n\u003cp>“If I get my blog’s contents back, I’m fairly certain I will continue the blog elsewhere,” Cooper said. “If my 10 years of work, thousands of posts, six days a week effort, and my new GIF novel that I spent 7 months working on are totally lost, I think I might be too heartbroken and dispirited to continue.”\u003c/p>\n\u003cp>Cooper successfully fought Google in the media, getting stories in the \u003cem>\u003ca href=\"http://www.nytimes.com/2016/07/30/opinion/sunday/the-blog-that-disappeared.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, the \u003cem>\u003ca href=\"https://www.theguardian.com/books/2016/jul/14/dennis-cooper-google-censorship-dc-blog\" target=\"_blank\" rel=\"noopener\">Guardian\u003c/a>\u003c/em> and the \u003cem>\u003ca href=\"http://www.newyorker.com/culture/culture-desk/why-did-google-erase-dennis-coopers-beloved-literary-blog\" target=\"_blank\" rel=\"noopener\">New Yorker,\u003c/a>\u003c/em> as well as international publications. Also, the free speech advocacy group \u003ca href=\"https://pen.org/blog/pen-concerned-google-suspension-artist-blog\" target=\"_blank\" rel=\"noopener\">PEN America\u003c/a> has had his back for much of the fight and a \u003ca href=\"https://www.change.org/p/google-restore-dennis-cooper-s-blog-and-email\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> garnered more than 4,000 signatures.\u003c/p>\n\u003cp>Less than a month later, Google’s lawyers reached out to Cooper’s attorney and \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1095110797242053&id=214073142012494\" target=\"_blank\" rel=\"noopener\">began working on a resolution\u003c/a>. On Friday, Aug. 26, Cooper, who lives in France, announced on his \u003ca href=\"https://www.facebook.com/Dennis-Coopers-Blog-214073142012494/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> in the early morning that Google had agreed to \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\" target=\"_blank\" rel=\"noopener\">give him his blog back\u003c/a>.\u003c/p>\n\u003cp>“I am very, very happy to be able announce that the two month-long Google-related nightmare is over,” Cooper wrote.\u003c/p>\n\u003cblockquote>\u003cp>“The gist: (1) My DC’s blog will restart in a new location on this coming Monday. Watch this space. I have the data for the archive of my disabled blog, but it’s not something that can be uploaded into the new blog intact. I will need to restore each post by hand, and since there are many thousands of posts, that restoration will happen very gradually over time. (2) I have the data for the 10 years of correspondence in my gmail account. (3) My GIF novel ‘Zac’s Freight Elevator’ has been rescued. It will be published as a free download this November. More details on that are forthcoming.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Why did Google remove Cooper’s blog?\u003c/b>\u003c/p>\n\u003cp>Google was vague regarding Cooper’s blog, forcing Cooper and other commentators to speculate as to why the blog was removed. All pointed to the same thing: Cooper’s regular posts about ads for male prostitutes.\u003c/p>\n\u003cp>Cooper defends this content. “90-plus percent of my blog posts are about experimental art, writing, film, music, video games, amusement parks, etc. Nothing remotely controversial or objectionable,” Cooper said. “Twice a month I do a post that features profile texts I have taken from various websites where male escorts do their business, usually edited, to emphasize their accidental literary qualities and their emotionality. The escorts whose profiles I use are all adults, and any images I use in those posts aren’t pornographic at all and rarely even show genitalia.”\u003c/p>\n\u003cp>Thanks to the Internet archival website the Wayback Machine, we can see a few of these posts. It’s fair to say that Cooper might not be as vigilant as he should in terms of keeping graphic images off his site. (\u003ca href=\"https://web.archive.org/web/20091016193456/http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">See for yourself\u003c/a>, but warning: NSFW)\u003c/p>\n\u003cp>Yet it’s Cooper’s willingness to spotlight touchy subjects like male prostitution that make him the writer he is today. Fearless with his subjects, Cooper was once called “the most dangerous writer in America” by the \u003cem>Village Voice\u003c/em> and “a master of transgressive literature” by the \u003cem>Guardian\u003c/em>.\u003c/p>\n\u003cp>But now Cooper knows the answer, and it’s nothing like he had initially thought. In his Facebook announcement, Cooper said Google removed his blog after someone reported that a picture posted on his blog back in 2006 featured child pornography.\u003c/p>\n\u003cblockquote>\u003cp>In 2006, I did one of those posts where I asked people to send me things they thought were sexy. I had forgotten all about that post until the other day, and I don’t remember what was in it. I do remember that, upon assembling the post, I realized there was some rather pornographic things therein that could potentially get my blog in trouble. So I set up that Self-Portrait Day on a separate page off the blog that could only be accessed on the blog through a link with an adult content warning.\u003c/p>\n\u003cp>According to Google, around the time my account was disabled, some unknown person came across this ten year-old page, thought one of the images on it constituted child pornography, and reported it to Google who immediately disabled my account. Now let me just say that I know there are people who don’t know me or my work well and think I’m some kind of ultra-transgressive shock-creating monster, but I completely assure you that if someone had sent me an image that I thought was child pornography, I would never have uploaded it, period.\u003c/p>\u003c/blockquote>\n\u003cp>Cooper spent months trying to convince Google to let him get into his blog and remove the offending image. He was refused time and time again. “What followed was about three weeks of discussions, negotiations, and so on,” Cooper said. “Finally, a week ago, Google suddenly announced that they were going to send me the data for the DC’s blog and my email account. They did, and that’s how and when the stand-off ended.”\u003c/p>\n\u003cp>Cooper says his blog will be up again by Monday.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Read Cooper’s full statement on his Facebook page:\u003c/i>\u003cbr>\nhttps://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Author Dennis Cooper took on Google over the removal of his long-running blog, and after two months, he’s emerged as a victor: the Goliath of the Internet is giving it back.\u003c/p>\n\u003cp>Cooper, best known for the gritty, drugs-and-sex-fueled series of novels called the \u003ca href=\"http://www.dennis-cooper.net/georgemiles.htm\" target=\"_blank\" rel=\"noopener\">George Miles cycle\u003c/a>, has published regularly on his blog \u003ci>\u003ca href=\"http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">The Weaklings\u003c/a> (\u003c/i>also known as \u003ci>DC’s Blog\u003c/i>) since 2002. But on June 27, he discovered that his blog had vanished. In its place was a note from Google, which hosted it, telling Cooper that his site had been shut down.\u003c/p>\n\u003cp>“They have never said or sent one word to me about what has happened or why,” Cooper said at the time. “I can only guess: either because they had some objection to something I posted on my blog, or it was hacked, or technical problem, or some accident that disabled my account.”\u003c/p>\n\u003cp>When KQED asked why Google removed his blog, the company sent a formulaic response:\u003c/p>\n\u003cblockquote>\u003cp>Thank you for getting in touch. We’re aware of this matter and not able to comment on specific user accounts. Here’s a link to our \u003ca href=\"https://www.google.com/policies/terms/\" target=\"_blank\" rel=\"noopener\">Terms of Service\u003c/a>, \u003ca href=\"https://www.google.com/intl/en_us/mail/help/program_policies.html\" target=\"_blank\" rel=\"noopener\">Gmail Policy\u003c/a> and \u003ca href=\"https://www.blogger.com/content.g?hl=en\" target=\"_blank\" rel=\"noopener\">Blogger Policy\u003c/a>.\u003c/p>\n\u003cp>Best,\u003c/p>\n\u003cp>The Google Press Team\u003c/p>\u003c/blockquote>\n\u003cp>They did not answer any follow up questions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perplexed, Cooper began reaching out to the press. He said he was worried that he had lost more than 10 years of irreplaceable compositions when his blog was taken down. The losses included two early examples of GIF novels (novels consisting purely of animated GIFs), one of which, \u003ci>Zac’s Haunted House, \u003c/i>had garnered the writer \u003ca href=\"http://www.newyorker.com/books/page-turner/how-dennis-cooper-creates-fiction-from-gifs\" target=\"_blank\" rel=\"noopener\">critical\u003c/a> \u003ca href=\"http://www.theverge.com/2015/1/16/7556041/dennis-cooper-gif-novel-zacs-haunted-house\" target=\"_blank\" rel=\"noopener\">acclaim\u003c/a>. So Cooper lawyered up and continued to push Google to allow him to at least retrieve his archives.\u003c/p>\n\u003cp>“If I get my blog’s contents back, I’m fairly certain I will continue the blog elsewhere,” Cooper said. “If my 10 years of work, thousands of posts, six days a week effort, and my new GIF novel that I spent 7 months working on are totally lost, I think I might be too heartbroken and dispirited to continue.”\u003c/p>\n\u003cp>Cooper successfully fought Google in the media, getting stories in the \u003cem>\u003ca href=\"http://www.nytimes.com/2016/07/30/opinion/sunday/the-blog-that-disappeared.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, the \u003cem>\u003ca href=\"https://www.theguardian.com/books/2016/jul/14/dennis-cooper-google-censorship-dc-blog\" target=\"_blank\" rel=\"noopener\">Guardian\u003c/a>\u003c/em> and the \u003cem>\u003ca href=\"http://www.newyorker.com/culture/culture-desk/why-did-google-erase-dennis-coopers-beloved-literary-blog\" target=\"_blank\" rel=\"noopener\">New Yorker,\u003c/a>\u003c/em> as well as international publications. Also, the free speech advocacy group \u003ca href=\"https://pen.org/blog/pen-concerned-google-suspension-artist-blog\" target=\"_blank\" rel=\"noopener\">PEN America\u003c/a> has had his back for much of the fight and a \u003ca href=\"https://www.change.org/p/google-restore-dennis-cooper-s-blog-and-email\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> garnered more than 4,000 signatures.\u003c/p>\n\u003cp>Less than a month later, Google’s lawyers reached out to Cooper’s attorney and \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1095110797242053&id=214073142012494\" target=\"_blank\" rel=\"noopener\">began working on a resolution\u003c/a>. On Friday, Aug. 26, Cooper, who lives in France, announced on his \u003ca href=\"https://www.facebook.com/Dennis-Coopers-Blog-214073142012494/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> in the early morning that Google had agreed to \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\" target=\"_blank\" rel=\"noopener\">give him his blog back\u003c/a>.\u003c/p>\n\u003cp>“I am very, very happy to be able announce that the two month-long Google-related nightmare is over,” Cooper wrote.\u003c/p>\n\u003cblockquote>\u003cp>“The gist: (1) My DC’s blog will restart in a new location on this coming Monday. Watch this space. I have the data for the archive of my disabled blog, but it’s not something that can be uploaded into the new blog intact. I will need to restore each post by hand, and since there are many thousands of posts, that restoration will happen very gradually over time. (2) I have the data for the 10 years of correspondence in my gmail account. (3) My GIF novel ‘Zac’s Freight Elevator’ has been rescued. It will be published as a free download this November. More details on that are forthcoming.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Why did Google remove Cooper’s blog?\u003c/b>\u003c/p>\n\u003cp>Google was vague regarding Cooper’s blog, forcing Cooper and other commentators to speculate as to why the blog was removed. All pointed to the same thing: Cooper’s regular posts about ads for male prostitutes.\u003c/p>\n\u003cp>Cooper defends this content. “90-plus percent of my blog posts are about experimental art, writing, film, music, video games, amusement parks, etc. Nothing remotely controversial or objectionable,” Cooper said. “Twice a month I do a post that features profile texts I have taken from various websites where male escorts do their business, usually edited, to emphasize their accidental literary qualities and their emotionality. The escorts whose profiles I use are all adults, and any images I use in those posts aren’t pornographic at all and rarely even show genitalia.”\u003c/p>\n\u003cp>Thanks to the Internet archival website the Wayback Machine, we can see a few of these posts. It’s fair to say that Cooper might not be as vigilant as he should in terms of keeping graphic images off his site. (\u003ca href=\"https://web.archive.org/web/20091016193456/http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">See for yourself\u003c/a>, but warning: NSFW)\u003c/p>\n\u003cp>Yet it’s Cooper’s willingness to spotlight touchy subjects like male prostitution that make him the writer he is today. Fearless with his subjects, Cooper was once called “the most dangerous writer in America” by the \u003cem>Village Voice\u003c/em> and “a master of transgressive literature” by the \u003cem>Guardian\u003c/em>.\u003c/p>\n\u003cp>But now Cooper knows the answer, and it’s nothing like he had initially thought. In his Facebook announcement, Cooper said Google removed his blog after someone reported that a picture posted on his blog back in 2006 featured child pornography.\u003c/p>\n\u003cblockquote>\u003cp>In 2006, I did one of those posts where I asked people to send me things they thought were sexy. I had forgotten all about that post until the other day, and I don’t remember what was in it. I do remember that, upon assembling the post, I realized there was some rather pornographic things therein that could potentially get my blog in trouble. So I set up that Self-Portrait Day on a separate page off the blog that could only be accessed on the blog through a link with an adult content warning.\u003c/p>\n\u003cp>According to Google, around the time my account was disabled, some unknown person came across this ten year-old page, thought one of the images on it constituted child pornography, and reported it to Google who immediately disabled my account. Now let me just say that I know there are people who don’t know me or my work well and think I’m some kind of ultra-transgressive shock-creating monster, but I completely assure you that if someone had sent me an image that I thought was child pornography, I would never have uploaded it, period.\u003c/p>\u003c/blockquote>\n\u003cp>Cooper spent months trying to convince Google to let him get into his blog and remove the offending image. He was refused time and time again. “What followed was about three weeks of discussions, negotiations, and so on,” Cooper said. “Finally, a week ago, Google suddenly announced that they were going to send me the data for the DC’s blog and my email account. They did, and that’s how and when the stand-off ended.”\u003c/p>\n\u003cp>Cooper says his blog will be up again by Monday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Department of Homeland Security investigators said Thursday they are investigating the hack of Leslie Jones’ website that revealed several private details of the actress-comedian’s life.\u003c/p>\n\u003cp>U.S. Immigration and Customs Enforcement, part of Homeland Security Investigations, said Thursday that its New York office is investigating the hack that exposed the driver’s license, passport and intimate photos of the \u003cem>Saturday Night Live\u003c/em> star, along with hateful and racist images.\u003c/p>\n\u003cp>ICE Public Affairs Officer Rachael Yong Yow said the agency does not release information related to active investigations. Jones’ website was taken offline after the hack was exposed Wednesday.\u003c/p>\n\u003cp>The \u003cem>Ghostbusters\u003c/em> actress was also targeted on Twitter last month with a barrage of racial slurs and obscene photos. She called on the social networking service to do more to curb harassment, and Twitter banned several users as a result.\u003c/p>\n\u003cp>In recent years, Jennifer Lawrence, Scarlett Johansson, Mila Kunis, Christina Aguilera and Kate Upton have been among Hollywood actresses who’ve had stolen nude images of themselves posted online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No charges have been filed against those who hacked and posted images of Lawrence, Upton and numerous other celebrities in a massive dump of intimate images of celebrities in August 2014.\u003c/p>\n\u003cp>Two men were recently convicted after federal prosecutors charged them with hacking into the accounts of several celebrities and stealing images and other personal information. However, neither of the men, Andrew Helton of Astoria, Oregon, or Ryan Collins of Lancaster, Pennsylvania, are suspected of posting the stolen images online.\u003c/p>\n\u003cp>Helton was sentenced to six months in federal prison in July, half of the sentence prosecutors had sought. Helton pleaded guilty to stealing 161 nude or explicit photos from 13 people, including unidentified celebrities, and said his arrest forced him to confront his mental health issues. He is due to report to prison in October.\u003c/p>\n\u003cp>Collins’ sentencing date has not been set.\u003c/p>\n\u003cp>Johansson, Kunis and Aguilera were hacked by a Florida man, Christopher Chaney, who used publicly available information to obtain access to the email accounts of more than 50 people in the entertainment industry. Chaney was sentenced to 10 years and remains in a low-security federal prison in Mississippi.\u003c/p>\n\u003cp>“I have been truly humiliated and embarrassed,” Johansson said in a tearful videotaped statement played in court before Chaney was sentenced to 10 years in federal prison in December 2012.\u003c/p>\n\u003cp>Private information and images of celebrities are frequent targets for hackers. In 2012 a site posted credit reports, Social Security numbers and other financial info on celebrities, including Jay Z and his wife Beyonce, Mel Gibson, Ashton Kutcher and many others.\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>Department of Homeland Security investigators said Thursday they are investigating the hack of Leslie Jones’ website that revealed several private details of the actress-comedian’s life.\u003c/p>\n\u003cp>U.S. Immigration and Customs Enforcement, part of Homeland Security Investigations, said Thursday that its New York office is investigating the hack that exposed the driver’s license, passport and intimate photos of the \u003cem>Saturday Night Live\u003c/em> star, along with hateful and racist images.\u003c/p>\n\u003cp>ICE Public Affairs Officer Rachael Yong Yow said the agency does not release information related to active investigations. Jones’ website was taken offline after the hack was exposed Wednesday.\u003c/p>\n\u003cp>The \u003cem>Ghostbusters\u003c/em> actress was also targeted on Twitter last month with a barrage of racial slurs and obscene photos. She called on the social networking service to do more to curb harassment, and Twitter banned several users as a result.\u003c/p>\n\u003cp>In recent years, Jennifer Lawrence, Scarlett Johansson, Mila Kunis, Christina Aguilera and Kate Upton have been among Hollywood actresses who’ve had stolen nude images of themselves posted online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No charges have been filed against those who hacked and posted images of Lawrence, Upton and numerous other celebrities in a massive dump of intimate images of celebrities in August 2014.\u003c/p>\n\u003cp>Two men were recently convicted after federal prosecutors charged them with hacking into the accounts of several celebrities and stealing images and other personal information. However, neither of the men, Andrew Helton of Astoria, Oregon, or Ryan Collins of Lancaster, Pennsylvania, are suspected of posting the stolen images online.\u003c/p>\n\u003cp>Helton was sentenced to six months in federal prison in July, half of the sentence prosecutors had sought. Helton pleaded guilty to stealing 161 nude or explicit photos from 13 people, including unidentified celebrities, and said his arrest forced him to confront his mental health issues. He is due to report to prison in October.\u003c/p>\n\u003cp>Collins’ sentencing date has not been set.\u003c/p>\n\u003cp>Johansson, Kunis and Aguilera were hacked by a Florida man, Christopher Chaney, who used publicly available information to obtain access to the email accounts of more than 50 people in the entertainment industry. Chaney was sentenced to 10 years and remains in a low-security federal prison in Mississippi.\u003c/p>\n\u003cp>“I have been truly humiliated and embarrassed,” Johansson said in a tearful videotaped statement played in court before Chaney was sentenced to 10 years in federal prison in December 2012.\u003c/p>\n\u003cp>Private information and images of celebrities are frequent targets for hackers. In 2012 a site posted credit reports, Social Security numbers and other financial info on celebrities, including Jay Z and his wife Beyonce, Mel Gibson, Ashton Kutcher and many others.\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": "Blowin' the Blues Bollywood-Style with Aki Kumar",
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"content": "\u003cp>Meet San Jose musician Aki Kumar today, and he’ll proudly introduce himself as “The Only Bombay Blues Man.”\u003c/p>\n\u003cp>But there was a time when Kumar, while making a name for himself on the Bay Area blues scene more than a decade ago, would intentionally downplay his Indian heritage. He wasn’t so forthright about immigrating from Bombay — now called Mumbai, and one of the world’s largest exporters of software engineers to the U.S. — to find a new life in America as a software engineer.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282764971″ 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>“I wanted to make a statement that I was a traditional blues man, so I wanted to be playing blues and have nobody even wonder where I came from,” says Kumar, 36, frontman and harmonica player for the Aki Kumar Blues Band.\u003c/p>\n\u003cfigure id=\"attachment_11979572\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/aki-front.jpg\" alt=\"The cover for 'Aki Goes to Bollywood' pays tribute to classic Indian cinema poster design.\" width=\"600\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-596x600.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Aki Goes to Bollywood’ pays tribute to classic Indian cinema poster design.\u003c/figcaption>\u003c/figure>\n\u003cp>But after more than a decade of playing with top-notch blues musicians and recording a rock-solid first album \u003cem>Don’t Hold Back\u003c/em> (which garnered widespread accolades from the \u003cem>Los Angeles Times\u003c/em> to Dan Aykroyd), Kumar is taking his love for the blues to unexpected places.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This month, he released his second album, \u003cem>Aki Goes to Bollywood\u003c/em>, a stylistic mashup of old songs from Indian blockbuster films of his childhood with Chicago-style blues. “It’s Mumbai meets Muddy Waters,” says Kumar, who reworked Hindi-language hits from big names in Indian pop music — Kishore Kumar, Mohammed Rafi, and Mukesh — and made them his own.\u003c/p>\n\u003cp>American blues fans are used to seeing their music evolve and take on new forms, but back home in India, Kumar notes, musical culture isn’t so malleable. As he worked on the arrangements for \u003cem>Aki Goes to Bollywood\u003c/em>, Kumar nervously sent rough mixes back home to his parents, both still living in India, whose love of music Kumar credits for planting the seeds of his musical career.\u003c/p>\n\u003cp>“It was terrifying in some ways. These songs are national treasures in India, sung by legends,” says Kumar. “But I think we pulled it off, and for me, it was the coming together of the music I discovered in the U.S. and my musical roots growing up.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Aki Goes to Bollywood’ is \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">out now\u003c/a>. Kumar also hosts a weekly blues jam session on Thursday nights at \u003ca href=\"http://littlelousbbq.com/\" target=\"_blank\" rel=\"noopener\">Little Lou’s BBQ\u003c/a> in Campbell. For more, see \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Meet San Jose musician Aki Kumar today, and he’ll proudly introduce himself as “The Only Bombay Blues Man.”\u003c/p>\n\u003cp>But there was a time when Kumar, while making a name for himself on the Bay Area blues scene more than a decade ago, would intentionally downplay his Indian heritage. He wasn’t so forthright about immigrating from Bombay — now called Mumbai, and one of the world’s largest exporters of software engineers to the U.S. — to find a new life in America as a software engineer.\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/282764971″&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/282764971″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I wanted to make a statement that I was a traditional blues man, so I wanted to be playing blues and have nobody even wonder where I came from,” says Kumar, 36, frontman and harmonica player for the Aki Kumar Blues Band.\u003c/p>\n\u003cfigure id=\"attachment_11979572\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/aki-front.jpg\" alt=\"The cover for 'Aki Goes to Bollywood' pays tribute to classic Indian cinema poster design.\" width=\"600\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-596x600.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Aki Goes to Bollywood’ pays tribute to classic Indian cinema poster design.\u003c/figcaption>\u003c/figure>\n\u003cp>But after more than a decade of playing with top-notch blues musicians and recording a rock-solid first album \u003cem>Don’t Hold Back\u003c/em> (which garnered widespread accolades from the \u003cem>Los Angeles Times\u003c/em> to Dan Aykroyd), Kumar is taking his love for the blues to unexpected places.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This month, he released his second album, \u003cem>Aki Goes to Bollywood\u003c/em>, a stylistic mashup of old songs from Indian blockbuster films of his childhood with Chicago-style blues. “It’s Mumbai meets Muddy Waters,” says Kumar, who reworked Hindi-language hits from big names in Indian pop music — Kishore Kumar, Mohammed Rafi, and Mukesh — and made them his own.\u003c/p>\n\u003cp>American blues fans are used to seeing their music evolve and take on new forms, but back home in India, Kumar notes, musical culture isn’t so malleable. As he worked on the arrangements for \u003cem>Aki Goes to Bollywood\u003c/em>, Kumar nervously sent rough mixes back home to his parents, both still living in India, whose love of music Kumar credits for planting the seeds of his musical career.\u003c/p>\n\u003cp>“It was terrifying in some ways. These songs are national treasures in India, sung by legends,” says Kumar. “But I think we pulled it off, and for me, it was the coming together of the music I discovered in the U.S. and my musical roots growing up.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Aki Goes to Bollywood’ is \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">out now\u003c/a>. Kumar also hosts a weekly blues jam session on Thursday nights at \u003ca href=\"http://littlelousbbq.com/\" target=\"_blank\" rel=\"noopener\">Little Lou’s BBQ\u003c/a> in Campbell. For more, see \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Angst\u003c/em> is the title of Kendra Kimbrough Barnes’ new piece for the summer season of the \u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a> (BCF), running Friday, Aug 26 through Sunday, Aug. 28 at Oakland’s Laney College. The dance was born from interviews of African American youth grappling with debilitating anxiety – at a time when fraught images of the violent deaths of young black men have rallied communities across America.\u003c/p>\n\u003cp>Barnes was the epitome of serenity as she took her dancers through rehearsal in an Oakland studio recently, shaping small, piercing gestures and big acrobatic lifts, and adding emotional color to movement. While \u003cem>Angst\u003c/em> will premiere in November, Barnes will preview an excerpt in this summer program.\u003c/p>\n\u003cfigure id=\"attachment_11955599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955599 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg\" alt=\"Kendra Kimbrough Dance Ensemble \" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656.jpg 1786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendra Kimbrough Dance Ensemble \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BCF includes artists from outside the Bay Area – this year there’s the \u003ca href=\"http://www.jazzantiqua.org/\" target=\"_blank\" rel=\"noopener\">JazzAntiqua Dance Ensemble\u003c/a> from Los Angeles – but focuses on presenting local talent. The event has built a loyal following over the 11 years of its existence, largely within the black community. But despite this success, developing broader audiences remains a challenge — not just for this festival, but also for black choreographers and companies around the U.S.\u003c/p>\n\u003cp>\u003cstrong>A slim pipeline\u003c/strong>\u003c/p>\n\u003cp>Across the nation, a sprinkling of \u003ca href=\"http://nbaf.org\" target=\"_blank\" rel=\"noopener\">black arts festivals\u003c/a> and a few presenting organizations offer strong support for black choreographers. These include \u003ca href=\"http://www.danspaceproject.org\" target=\"_blank\" rel=\"noopener\">Danspace Project\u003c/a> and the \u003ca href=\"http://www.joyce.org\" target=\"_blank\" rel=\"noopener\">Joyce Theatre\u003c/a> in New York, and \u003ca href=\"https://ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"http://www.counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> in San Francisco. Plus, \u003ca href=\"https://www.linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> and the two largest predominantly black dance companies, \u003ca href=\"https://www.alvinailey.org\" target=\"_blank\" rel=\"noopener\">Alvin Ailey American Dance Theater\u003c/a> and \u003ca href=\"http://www.dancetheatreofharlem.org\" target=\"_blank\" rel=\"noopener\">Dance Theatre of Harlem\u003c/a> have produced a few well-known choreographers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet outside the hip hop world, the pipeline of black choreographers remains slim, though the number is growing. The \u003ca href=\"http://www.iabdassociation.org\" target=\"_blank\" rel=\"noopener\">International Association of Blacks in Dance (IABD)\u003c/a>, a Washington D.C.-based advocacy group, expects the number of black choreographers in the upcoming edition of its directory to rise to around 100 in 2017, up from 36 in 1995.\u003c/p>\n\u003cp>From the pioneering days of Alvin Ailey, Bill T. Jones, Alonzo King, Blondell Cummings, Dianne McIntyre, Jawole Willa Jo Zollar and others in the mid- to late-20th century, growth in opportunities to see the work of black dance-makers does not seem to have kept pace with the innovation that is going on in the dance world at large.\u003c/p>\n\u003cp>“We’re having more conversations about black dancers and their exclusion from mainstream and avant garde dance,” said \u003ca href=\"http://www.abrahaminmotion.org\" target=\"_blank\" rel=\"noopener\">Kyle Abraham\u003c/a>, a fêted African American choreographer, and one of several artists I interviewed for this story. “Before, there was only an ‘Ailey box.’ It’s less specific of a box now, though still limited.” In his own work, Abraham fuses elements of hip-hop, jazz, African dance idioms, and modern dance to create a fine, bitter heat.\u003c/p>\n\u003cfigure id=\"attachment_11955603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955603 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg\" alt=\"Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \u003ccite>(Photo: Joe Lambie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festivals remain a critical platform for the exposure of African American choreographers, as they have for \u003ca href=\"http://www.camilleabrown.org\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>, who is recognized for her socially conscious work. Yet she chafes at being labeled \u003ca href=\"https://youtu.be/bln9K5Xm3sQ?t=15m17s\" target=\"_blank\" rel=\"noopener\">a black choreographer\u003c/a>. “Limitations are placed on choreographers of color right out of the gate,” Brown said. “We are also still dealing with the ‘one black dance company on our roster a year’ mentality from some presenters. ”\u003c/p>\n\u003cp>Deborah Vaughan, who in 1972 co-founded \u003ca href=\"https://www.dimensionsdance.org\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://dancersgroup.org/2013/09/dimensions-dance-theater-four-decades-strong/\" target=\"_blank\" rel=\"noopener\">one of the oldest African American dance companies on the West Coast\u003c/a>, agrees. “One of the things that really upset me was to be put in a box,” Vaughan said. “We’re black, so we should do African dance.” Dimensions brings an excerpt from \u003cem>The Town on Notice\u003c/em> to BCF this season, a project inspired by community reactions to the gentrification of Oakland.\u003c/p>\n\u003cp>Some choreographers are looking beyond festivals to address the issue. Jawole Willa Jo Zollar, a Brooklyn-based choreographer and the leader of the dance collective \u003ca href=\"https://www.urbanbushwomen.org\" target=\"_blank\" rel=\"noopener\">Urban Bush Women (UBW)\u003c/a>, recently launched a \u003ca href=\"http://www.urbanbushwomencenter.org\" target=\"_blank\" rel=\"noopener\">choreographic center\u003c/a> to nurture black women choreographers.\u003c/p>\n\u003cfigure id=\"attachment_11955601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955601 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg\" alt=\"Dimensions Dance Theater in 'The Town on Notice'. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1920x1140.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-960x570.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater in ‘The Town on Notice’. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \u003ccite>(Photo: Edward Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the odds are still heavily stacked against choreographers of color. Choreographer \u003ca href=\"http://www.emiadance.org/#!director/c14ag\" target=\"_blank\" rel=\"noopener\">Fredrick Earl Mosley\u003c/a>, whose popular \u003ca href=\"https://vimeo.com/129247344\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> have united veterans and newcomers, calls out grant application processes that he said are, “inaccessible to artists who are not considered ‘mainstream.'” Mosley said that funding bodies are often just looking for choreographers who are already successful.\u003c/p>\n\u003cp>\u003cstrong>Forbidding world of classical ballet\u003c/strong>\u003c/p>\n\u003cp>While some African American choreographers have made headway in the contemporary dance field, the world of classical ballet is even more forbidding to black artists. Of the three largest American ballet companies, \u003ca href=\"http://www.abt.org/default.aspx\" target=\"_blank\" rel=\"noopener\">American Ballet Theatre\u003c/a> and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> last staged work by African American choreographers in 2000 (Christian Holder) and 1994 (Donald McKayle) respectively. And four black choreographers have come through the portals of \u003ca href=\"https://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>’s eminent Choreographic Institute, which has offered two-week residencies to about 150 up-and-comers since its founding in 2000.\u003c/p>\n\u003cp>Alonzo King staked a singular outpost in the industry with his establishment of \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">LINES Ballet \u003c/a>in San Francisco in 1984. The dance pioneer has gone on to influence a number of choreographers of color.\u003c/p>\n\u003cp>Partly inspired by King, newcomer Jeremy McQueen is creating ballets rooted in black history and in the African American experience. McQueen’s collaborative, known as the \u003ca href=\"http://www.blackirisproject.org/#top\" target=\"_blank\" rel=\"noopener\">Black Iris Project\u003c/a>, just unfurled a triple bill of new work, all grounded in classical ballet, at \u003ca href=\"http://artsbeat.blogs.nytimes.com/2016/02/25/jeremy-mcqueens-ballet-collective-to-foster-black-works/\" target=\"_blank\" rel=\"noopener\">New York Live Arts\u003c/a>, which drew sizeable non-dance audiences. \u003cem>Madiba\u003c/em>, McQueen’s ballet inspired by the life of Nelson Mandela, will be featured in \u003cem>\u003ca href=\"https://www.kennedy-center.org/calendar/event/BRBSF\" target=\"_blank\" rel=\"noopener\">Ballet Across America\u003c/a>\u003c/em> next April, a Kennedy Center program curated by ballet superstars Misty Copeland and Justin Peck.\u003c/p>\n\u003cfigure id=\"attachment_11955602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955602 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg\" alt=\"David Boyce, Byb Chanel Bibene and Chris Evans in 'Reconstruction Study #1' \" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-1180x706.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-960x574.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915.jpg 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Boyce, Byb Chanel Bibene and Chris Evans in ‘Reconstruction Study #1’ \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LINES alumnus Gregory Dawson founded his own company, \u003ca href=\"http://www.dawsondancesf.org\" target=\"_blank\" rel=\"noopener\">dawsondancesf\u003c/a>, in 2007. He unveils a new work at BCF this season, inspired by the life of 18th century castrato singer Farinelli. Dawson danced with LINES for nearly 20 years. He says he has been inspired by King’s philosophy and process, and acknowledges that he’s borrowed formal elements from King’s vocabulary, too. “Consciously or not, I’ve borrowed or inherited an aesthetic which is discernibly within Alonzo’s lineage,” Dawson said.\u003c/p>\n\u003cp>\u003cstrong>Come for the dance. Stay for the struggle.\u003c/strong>\u003c/p>\n\u003cp>A few weeks before BCF, I sat in on a rehearsal for \u003cem>\u003ca href=\"https://evansmousike.wordpress.com/ark-of-bones/\" target=\"_blank\" rel=\"noopener\">Reconstruction Study #1\u003c/a> \u003c/em>at Richmond’s MilkBar. The work-in-progress is a collaboration between dancer-musician \u003ca href=\"https://evansmousike.wordpress.com\" target=\"_blank\" rel=\"noopener\">Chris Evans\u003c/a>, Congolese dance artist Byb Chanel Bibene, and musician-composer David Boyce. It’s based on several stories including that of Jim Coble, an African American man who killed ten white people in Broken Arrow, Oklahoma in the early 20th century.\u003c/p>\n\u003cp>Evans suggested to her partners that they kick off rehearsal with improv for a section of the piece that deals with rage. Boyce’s saxophone waxed mournful then threatening, while Evans glided seamlessly between floor and cello, conjuring an ominous thrumming. She and Bibene traced their own tortuous paths on the studio floor, rarely looking at each other even through the occasional tense moments of contact, yet somehow intimately connected.\u003c/p>\n\u003cp>This happened to be the evening when America was recovering from the blistering “Make America Safe Again” tirades of the Republican National Convention, girding for the next slogan attack.\u003c/p>\n\u003cp>“Talking about rage, did you watch the convention last night?” Boyce said to his colleagues. This stuff is classic.”\u003c/p>\n\u003cp>“Does this make you think about leaving America?” Evans asked Bibene.\u003c/p>\n\u003cp>“No, of course not,” replied Bibene, who is a survivor of the civil wars that devastated the Congo in the 1990s. “This country has laws. You stay for the struggle.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival Summer Series\u003c/a> runs through Sunday, Aug. 28 at Laney College, Oakland.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dimensions Dance Theater revives \u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Project Panther\u003c/a> on Saturday, Oct. 15 at the Malonga Casquelourd Center for the Arts in Oakland on the occasion of the 50th anniversary of the founding of the Black Panther Party.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Urban Bush Women brings \u003ca href=\"https://www.fordtheatres.org/calendar/ford-signature-series-urban-bush-women-and-contra-tiempo\" target=\"_blank\" rel=\"noopener\">Walking with ‘Trane\u003c/a>, an extended riff on the legacy of the legendary John Coltrane, to the Ford Theatres in Los Angeles on Saturday, Aug. 27.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Angst\u003c/em> is the title of Kendra Kimbrough Barnes’ new piece for the summer season of the \u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a> (BCF), running Friday, Aug 26 through Sunday, Aug. 28 at Oakland’s Laney College. The dance was born from interviews of African American youth grappling with debilitating anxiety – at a time when fraught images of the violent deaths of young black men have rallied communities across America.\u003c/p>\n\u003cp>Barnes was the epitome of serenity as she took her dancers through rehearsal in an Oakland studio recently, shaping small, piercing gestures and big acrobatic lifts, and adding emotional color to movement. While \u003cem>Angst\u003c/em> will premiere in November, Barnes will preview an excerpt in this summer program.\u003c/p>\n\u003cfigure id=\"attachment_11955599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955599 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg\" alt=\"Kendra Kimbrough Dance Ensemble \" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656.jpg 1786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendra Kimbrough Dance Ensemble \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BCF includes artists from outside the Bay Area – this year there’s the \u003ca href=\"http://www.jazzantiqua.org/\" target=\"_blank\" rel=\"noopener\">JazzAntiqua Dance Ensemble\u003c/a> from Los Angeles – but focuses on presenting local talent. The event has built a loyal following over the 11 years of its existence, largely within the black community. But despite this success, developing broader audiences remains a challenge — not just for this festival, but also for black choreographers and companies around the U.S.\u003c/p>\n\u003cp>\u003cstrong>A slim pipeline\u003c/strong>\u003c/p>\n\u003cp>Across the nation, a sprinkling of \u003ca href=\"http://nbaf.org\" target=\"_blank\" rel=\"noopener\">black arts festivals\u003c/a> and a few presenting organizations offer strong support for black choreographers. These include \u003ca href=\"http://www.danspaceproject.org\" target=\"_blank\" rel=\"noopener\">Danspace Project\u003c/a> and the \u003ca href=\"http://www.joyce.org\" target=\"_blank\" rel=\"noopener\">Joyce Theatre\u003c/a> in New York, and \u003ca href=\"https://ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"http://www.counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> in San Francisco. Plus, \u003ca href=\"https://www.linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> and the two largest predominantly black dance companies, \u003ca href=\"https://www.alvinailey.org\" target=\"_blank\" rel=\"noopener\">Alvin Ailey American Dance Theater\u003c/a> and \u003ca href=\"http://www.dancetheatreofharlem.org\" target=\"_blank\" rel=\"noopener\">Dance Theatre of Harlem\u003c/a> have produced a few well-known choreographers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet outside the hip hop world, the pipeline of black choreographers remains slim, though the number is growing. The \u003ca href=\"http://www.iabdassociation.org\" target=\"_blank\" rel=\"noopener\">International Association of Blacks in Dance (IABD)\u003c/a>, a Washington D.C.-based advocacy group, expects the number of black choreographers in the upcoming edition of its directory to rise to around 100 in 2017, up from 36 in 1995.\u003c/p>\n\u003cp>From the pioneering days of Alvin Ailey, Bill T. Jones, Alonzo King, Blondell Cummings, Dianne McIntyre, Jawole Willa Jo Zollar and others in the mid- to late-20th century, growth in opportunities to see the work of black dance-makers does not seem to have kept pace with the innovation that is going on in the dance world at large.\u003c/p>\n\u003cp>“We’re having more conversations about black dancers and their exclusion from mainstream and avant garde dance,” said \u003ca href=\"http://www.abrahaminmotion.org\" target=\"_blank\" rel=\"noopener\">Kyle Abraham\u003c/a>, a fêted African American choreographer, and one of several artists I interviewed for this story. “Before, there was only an ‘Ailey box.’ It’s less specific of a box now, though still limited.” In his own work, Abraham fuses elements of hip-hop, jazz, African dance idioms, and modern dance to create a fine, bitter heat.\u003c/p>\n\u003cfigure id=\"attachment_11955603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955603 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg\" alt=\"Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \u003ccite>(Photo: Joe Lambie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festivals remain a critical platform for the exposure of African American choreographers, as they have for \u003ca href=\"http://www.camilleabrown.org\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>, who is recognized for her socially conscious work. Yet she chafes at being labeled \u003ca href=\"https://youtu.be/bln9K5Xm3sQ?t=15m17s\" target=\"_blank\" rel=\"noopener\">a black choreographer\u003c/a>. “Limitations are placed on choreographers of color right out of the gate,” Brown said. “We are also still dealing with the ‘one black dance company on our roster a year’ mentality from some presenters. ”\u003c/p>\n\u003cp>Deborah Vaughan, who in 1972 co-founded \u003ca href=\"https://www.dimensionsdance.org\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://dancersgroup.org/2013/09/dimensions-dance-theater-four-decades-strong/\" target=\"_blank\" rel=\"noopener\">one of the oldest African American dance companies on the West Coast\u003c/a>, agrees. “One of the things that really upset me was to be put in a box,” Vaughan said. “We’re black, so we should do African dance.” Dimensions brings an excerpt from \u003cem>The Town on Notice\u003c/em> to BCF this season, a project inspired by community reactions to the gentrification of Oakland.\u003c/p>\n\u003cp>Some choreographers are looking beyond festivals to address the issue. Jawole Willa Jo Zollar, a Brooklyn-based choreographer and the leader of the dance collective \u003ca href=\"https://www.urbanbushwomen.org\" target=\"_blank\" rel=\"noopener\">Urban Bush Women (UBW)\u003c/a>, recently launched a \u003ca href=\"http://www.urbanbushwomencenter.org\" target=\"_blank\" rel=\"noopener\">choreographic center\u003c/a> to nurture black women choreographers.\u003c/p>\n\u003cfigure id=\"attachment_11955601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955601 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg\" alt=\"Dimensions Dance Theater in 'The Town on Notice'. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1920x1140.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-960x570.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater in ‘The Town on Notice’. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \u003ccite>(Photo: Edward Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the odds are still heavily stacked against choreographers of color. Choreographer \u003ca href=\"http://www.emiadance.org/#!director/c14ag\" target=\"_blank\" rel=\"noopener\">Fredrick Earl Mosley\u003c/a>, whose popular \u003ca href=\"https://vimeo.com/129247344\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> have united veterans and newcomers, calls out grant application processes that he said are, “inaccessible to artists who are not considered ‘mainstream.'” Mosley said that funding bodies are often just looking for choreographers who are already successful.\u003c/p>\n\u003cp>\u003cstrong>Forbidding world of classical ballet\u003c/strong>\u003c/p>\n\u003cp>While some African American choreographers have made headway in the contemporary dance field, the world of classical ballet is even more forbidding to black artists. Of the three largest American ballet companies, \u003ca href=\"http://www.abt.org/default.aspx\" target=\"_blank\" rel=\"noopener\">American Ballet Theatre\u003c/a> and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> last staged work by African American choreographers in 2000 (Christian Holder) and 1994 (Donald McKayle) respectively. And four black choreographers have come through the portals of \u003ca href=\"https://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>’s eminent Choreographic Institute, which has offered two-week residencies to about 150 up-and-comers since its founding in 2000.\u003c/p>\n\u003cp>Alonzo King staked a singular outpost in the industry with his establishment of \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">LINES Ballet \u003c/a>in San Francisco in 1984. The dance pioneer has gone on to influence a number of choreographers of color.\u003c/p>\n\u003cp>Partly inspired by King, newcomer Jeremy McQueen is creating ballets rooted in black history and in the African American experience. McQueen’s collaborative, known as the \u003ca href=\"http://www.blackirisproject.org/#top\" target=\"_blank\" rel=\"noopener\">Black Iris Project\u003c/a>, just unfurled a triple bill of new work, all grounded in classical ballet, at \u003ca href=\"http://artsbeat.blogs.nytimes.com/2016/02/25/jeremy-mcqueens-ballet-collective-to-foster-black-works/\" target=\"_blank\" rel=\"noopener\">New York Live Arts\u003c/a>, which drew sizeable non-dance audiences. \u003cem>Madiba\u003c/em>, McQueen’s ballet inspired by the life of Nelson Mandela, will be featured in \u003cem>\u003ca href=\"https://www.kennedy-center.org/calendar/event/BRBSF\" target=\"_blank\" rel=\"noopener\">Ballet Across America\u003c/a>\u003c/em> next April, a Kennedy Center program curated by ballet superstars Misty Copeland and Justin Peck.\u003c/p>\n\u003cfigure id=\"attachment_11955602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955602 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg\" alt=\"David Boyce, Byb Chanel Bibene and Chris Evans in 'Reconstruction Study #1' \" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-1180x706.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-960x574.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915.jpg 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Boyce, Byb Chanel Bibene and Chris Evans in ‘Reconstruction Study #1’ \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LINES alumnus Gregory Dawson founded his own company, \u003ca href=\"http://www.dawsondancesf.org\" target=\"_blank\" rel=\"noopener\">dawsondancesf\u003c/a>, in 2007. He unveils a new work at BCF this season, inspired by the life of 18th century castrato singer Farinelli. Dawson danced with LINES for nearly 20 years. He says he has been inspired by King’s philosophy and process, and acknowledges that he’s borrowed formal elements from King’s vocabulary, too. “Consciously or not, I’ve borrowed or inherited an aesthetic which is discernibly within Alonzo’s lineage,” Dawson said.\u003c/p>\n\u003cp>\u003cstrong>Come for the dance. Stay for the struggle.\u003c/strong>\u003c/p>\n\u003cp>A few weeks before BCF, I sat in on a rehearsal for \u003cem>\u003ca href=\"https://evansmousike.wordpress.com/ark-of-bones/\" target=\"_blank\" rel=\"noopener\">Reconstruction Study #1\u003c/a> \u003c/em>at Richmond’s MilkBar. The work-in-progress is a collaboration between dancer-musician \u003ca href=\"https://evansmousike.wordpress.com\" target=\"_blank\" rel=\"noopener\">Chris Evans\u003c/a>, Congolese dance artist Byb Chanel Bibene, and musician-composer David Boyce. It’s based on several stories including that of Jim Coble, an African American man who killed ten white people in Broken Arrow, Oklahoma in the early 20th century.\u003c/p>\n\u003cp>Evans suggested to her partners that they kick off rehearsal with improv for a section of the piece that deals with rage. Boyce’s saxophone waxed mournful then threatening, while Evans glided seamlessly between floor and cello, conjuring an ominous thrumming. She and Bibene traced their own tortuous paths on the studio floor, rarely looking at each other even through the occasional tense moments of contact, yet somehow intimately connected.\u003c/p>\n\u003cp>This happened to be the evening when America was recovering from the blistering “Make America Safe Again” tirades of the Republican National Convention, girding for the next slogan attack.\u003c/p>\n\u003cp>“Talking about rage, did you watch the convention last night?” Boyce said to his colleagues. This stuff is classic.”\u003c/p>\n\u003cp>“Does this make you think about leaving America?” Evans asked Bibene.\u003c/p>\n\u003cp>“No, of course not,” replied Bibene, who is a survivor of the civil wars that devastated the Congo in the 1990s. “This country has laws. You stay for the struggle.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival Summer Series\u003c/a> runs through Sunday, Aug. 28 at Laney College, Oakland.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dimensions Dance Theater revives \u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Project Panther\u003c/a> on Saturday, Oct. 15 at the Malonga Casquelourd Center for the Arts in Oakland on the occasion of the 50th anniversary of the founding of the Black Panther Party.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Urban Bush Women brings \u003ca href=\"https://www.fordtheatres.org/calendar/ford-signature-series-urban-bush-women-and-contra-tiempo\" target=\"_blank\" rel=\"noopener\">Walking with ‘Trane\u003c/a>, an extended riff on the legacy of the legendary John Coltrane, to the Ford Theatres in Los Angeles on Saturday, Aug. 27.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.3.0 wordpress.org/plugins/iframe/ -->\u003cbr>[youtube https://www.youtube.com/watch?v=RuZjzqd1_Lg&w=800&h=450]\u003c/p>\n\u003cp>Say the name “Warren Hinckle” in a 2016 San Francisco newsroom, as I did earlier this week, and like as not your utterance will be met with puzzled silence. Some younger folks and those recently arrived in San Francisco aren’t \u003ca href=\"https://ww2.kqed.org/news/2016/08/23/warren-hinckle-san-francisco-journalist-1938-2016/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"https://ww2.kqed.org/news/2016/08/23/warren-hinckle-san-francisco-journalist-1938-2016/\" target=\"_blank\" title=\"Warren Hinckle, Pugnacious S.F. Journalist, Dies at Age 77\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.3.0 wordpress.org/plugins/iframe/ -->\u003cbr>\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/RuZjzqd1_Lg'\n title='//www.youtube.com/embed/RuZjzqd1_Lg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Say the name “Warren Hinckle” in a 2016 San Francisco newsroom, as I did earlier this week, and like as not your utterance will be met with puzzled silence. Some younger folks and those recently arrived in San Francisco aren’t \u003ca href=\"https://ww2.kqed.org/news/2016/08/23/warren-hinckle-san-francisco-journalist-1938-2016/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"https://ww2.kqed.org/news/2016/08/23/warren-hinckle-san-francisco-journalist-1938-2016/\" target=\"_blank\" title=\"Warren Hinckle, Pugnacious S.F. Journalist, Dies at Age 77\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The City of Oakland has appointed \u003ca href=\"http://creativetime.org/summit/author/roberto-bedoya/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya \u003c/a>as its first Cultural Affairs Manager, a job that will come with a host of challenges.\u003c/p>\n\u003cp>Bedoya was born in Union City, but he comes to Oakland after nine years as executive director of the \u003ca href=\"http://artsfoundtucson.org/\" target=\"_blank\" rel=\"noopener\">Tucson Pima (Arizona) Arts Council (TPAC)\u003c/a>, where he developed a reputation as a leader in \u003ca href=\"http://www.giarts.org/article/placemaking-and-politics-belonging-and-dis-belonging\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>, the trendy term for the way a healthy and diverse arts community makes for a vibrant city.\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf says he’s well prepared for the job. “To have someone who recognizes that art is the most powerful force for holding hard conversations,” Schaaf said in a phone interview, “for envisioning the change that we want, because change is inevitable in cities.”\u003c/p>\n\u003cp>When he starts his job in early September, Bedoya will be have to complete \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak057287.pdf\" target=\"_blank\" rel=\"noopener\">a cultural plan\u003c/a>, including how to keep artists and arts organizations from being priced out of Oakland, and deciding whether Oakland should restore its \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/EconomicDevelopment/o/CulturalArtsMarketing/DOWD008319\" target=\"_blank\" rel=\"noopener\">arts commission\u003c/a>.\u003c/p>\n\u003cp>Bedoya will oversee $900,000 in annual grants to local arts organization and a $1 million-bond fund for public art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Oakland Hires its First Cultural Affairs Manager | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has appointed \u003ca href=\"http://creativetime.org/summit/author/roberto-bedoya/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya \u003c/a>as its first Cultural Affairs Manager, a job that will come with a host of challenges.\u003c/p>\n\u003cp>Bedoya was born in Union City, but he comes to Oakland after nine years as executive director of the \u003ca href=\"http://artsfoundtucson.org/\" target=\"_blank\" rel=\"noopener\">Tucson Pima (Arizona) Arts Council (TPAC)\u003c/a>, where he developed a reputation as a leader in \u003ca href=\"http://www.giarts.org/article/placemaking-and-politics-belonging-and-dis-belonging\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>, the trendy term for the way a healthy and diverse arts community makes for a vibrant city.\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf says he’s well prepared for the job. “To have someone who recognizes that art is the most powerful force for holding hard conversations,” Schaaf said in a phone interview, “for envisioning the change that we want, because change is inevitable in cities.”\u003c/p>\n\u003cp>When he starts his job in early September, Bedoya will be have to complete \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak057287.pdf\" target=\"_blank\" rel=\"noopener\">a cultural plan\u003c/a>, including how to keep artists and arts organizations from being priced out of Oakland, and deciding whether Oakland should restore its \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/EconomicDevelopment/o/CulturalArtsMarketing/DOWD008319\" target=\"_blank\" rel=\"noopener\">arts commission\u003c/a>.\u003c/p>\n\u003cp>Bedoya will oversee $900,000 in annual grants to local arts organization and a $1 million-bond fund for public art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A U.S. judge said Tuesday that a celebrated artist was right when he insisted he didn’t paint a work now owned by a retired prison worker, a finding that likely ensures the piece will now be worth a fraction of the previous estimated value of $10 million or more.\u003c/p>\n\u003cp>The ruling came at the end of an unusual bench trial in Chicago that pitted Scottish-born Peter Doig against Canadian Robert Fletcher, who paid just $100 in the 1970s for the desert landscape painting and had hoped for a windfall of millions of dollars in retirement.\u003c/p>\n\u003cp>Authenticity disputes typically arise long after an artist dies, not when the artist is alive and flatly denies a work is his. This case created a stir in the art world, where the principle is widely accepted that artists’ word on whether a work is theirs or not is final.\u003c/p>\n\u003cp>Presiding Judge Gary Feinerman spent nearly two hours explaining his decision and going through evidence, from high school yearbooks to prison records, all of which demonstrated, he said, that Doig “absolutely did not paint the work in question.”\u003c/p>\n\u003cp>In a written statement after the verdict entirely in his favor, Doig, 57, said “justice prevailed, but it was way too long in coming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That a living artist has to defend the authorship of his own work should never have come to pass,” he said.\u003c/p>\n\u003cp>The trial stemmed from Fletcher’s 2013 lawsuit in Chicago, where one auctioneer was located, in which he sought millions in damages after the painting’s projected sale price tanked following Doig’s disavowal of it. The judge ruled Fletcher wasn’t entitled to any money.\u003c/p>\n\u003cfigure id=\"attachment_11975566\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg\" alt=\"Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig. They accused him of falsely denying authorship of a painting. \" width=\"640\" height=\"360\" class=\"size-large wp-image-11975566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig.\u003cbr>They accused him of falsely denying authorship of a painting. \u003ccite>(Photo: Nova Safo/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, the judge said, showed this was a case of imperfect memories, coincidences and mistaken identity. He said it was a different Peter Doige, who spelled his name with an “e,” who created the artwork. Feinerman rejected the idea that Doig, the renowned artist, and Doige were the same person.\u003c/p>\n\u003cp>Fletcher, 62, testified that he bought the painting of a desert landscape while Doig was serving prison time in Canada’s Thunder Bay Correctional Center. But Feinerman said it was Doige — who was several years older and painted at the time — who was briefly in prison.\u003c/p>\n\u003cp>After Tuesday’s decision, when a reporter asked Fletcher if he was still convinced the man he bought the painting from in prison and the internationally acclaimed artist were one and the same despite the judge’s conclusion, he responded: “I am.”\u003c/p>\n\u003cp>Doig, who attended the trial last week but listened to the verdict by telephone, sharply criticized Fletcher’s lawsuit.\u003c/p>\n\u003cp>“That the plaintiffs in this case have shamelessly tried to deny another artist his legacy for money is despicable,” he said.\u003c/p>\n\u003cp>Fletcher’s attorney, William Zieske, said the suit was brought in good faith and an appeal is possible.\u003c/p>\n\u003cp>A key witness for Doig was a Canadian woman, Marilyn Doige Bovard, who told the court the painting was by her now-deceased brother, Peter Doige. She confirmed her brother had been in prison where Fletcher worked in the mid to late ’70s.\u003c/p>\n\u003cp>Doig, who now lives in Trinidad, said he’s never been in prison. While he lived in Canada at the time, he said he was attending school in Toronto, 500 miles from the prison. Feinerman said yearbooks proved Doig was, in fact, in Toronto when Fletcher said he was in prison.\u003c/p>\n\u003cp>Doig’s works are prized for their ethereal scenes often with subjects appearing as ghostly figures. His painting of someone slumped over a canoe, entitled “Swamped,” sold last year at Christie’s for $25.9 million, according to the auction company’s website.\u003c/p>\n\u003cp>Some artists worried the case could set a bad precedent and lead to similar lawsuits, said Amy Adler, who teaches art and the law at New York University School of Law.\u003c/p>\n\u003cp>“This case inspires terror in some artists who fear they could end up in court for denying that a work they did not do isn’t theirs,” Adler said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A U.S. judge said Tuesday that a celebrated artist was right when he insisted he didn’t paint a work now owned by a retired prison worker, a finding that likely ensures the piece will now be worth a fraction of the previous estimated value of $10 million or more.\u003c/p>\n\u003cp>The ruling came at the end of an unusual bench trial in Chicago that pitted Scottish-born Peter Doig against Canadian Robert Fletcher, who paid just $100 in the 1970s for the desert landscape painting and had hoped for a windfall of millions of dollars in retirement.\u003c/p>\n\u003cp>Authenticity disputes typically arise long after an artist dies, not when the artist is alive and flatly denies a work is his. This case created a stir in the art world, where the principle is widely accepted that artists’ word on whether a work is theirs or not is final.\u003c/p>\n\u003cp>Presiding Judge Gary Feinerman spent nearly two hours explaining his decision and going through evidence, from high school yearbooks to prison records, all of which demonstrated, he said, that Doig “absolutely did not paint the work in question.”\u003c/p>\n\u003cp>In a written statement after the verdict entirely in his favor, Doig, 57, said “justice prevailed, but it was way too long in coming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That a living artist has to defend the authorship of his own work should never have come to pass,” he said.\u003c/p>\n\u003cp>The trial stemmed from Fletcher’s 2013 lawsuit in Chicago, where one auctioneer was located, in which he sought millions in damages after the painting’s projected sale price tanked following Doig’s disavowal of it. The judge ruled Fletcher wasn’t entitled to any money.\u003c/p>\n\u003cfigure id=\"attachment_11975566\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg\" alt=\"Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig. They accused him of falsely denying authorship of a painting. \" width=\"640\" height=\"360\" class=\"size-large wp-image-11975566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig.\u003cbr>They accused him of falsely denying authorship of a painting. \u003ccite>(Photo: Nova Safo/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, the judge said, showed this was a case of imperfect memories, coincidences and mistaken identity. He said it was a different Peter Doige, who spelled his name with an “e,” who created the artwork. Feinerman rejected the idea that Doig, the renowned artist, and Doige were the same person.\u003c/p>\n\u003cp>Fletcher, 62, testified that he bought the painting of a desert landscape while Doig was serving prison time in Canada’s Thunder Bay Correctional Center. But Feinerman said it was Doige — who was several years older and painted at the time — who was briefly in prison.\u003c/p>\n\u003cp>After Tuesday’s decision, when a reporter asked Fletcher if he was still convinced the man he bought the painting from in prison and the internationally acclaimed artist were one and the same despite the judge’s conclusion, he responded: “I am.”\u003c/p>\n\u003cp>Doig, who attended the trial last week but listened to the verdict by telephone, sharply criticized Fletcher’s lawsuit.\u003c/p>\n\u003cp>“That the plaintiffs in this case have shamelessly tried to deny another artist his legacy for money is despicable,” he said.\u003c/p>\n\u003cp>Fletcher’s attorney, William Zieske, said the suit was brought in good faith and an appeal is possible.\u003c/p>\n\u003cp>A key witness for Doig was a Canadian woman, Marilyn Doige Bovard, who told the court the painting was by her now-deceased brother, Peter Doige. She confirmed her brother had been in prison where Fletcher worked in the mid to late ’70s.\u003c/p>\n\u003cp>Doig, who now lives in Trinidad, said he’s never been in prison. While he lived in Canada at the time, he said he was attending school in Toronto, 500 miles from the prison. Feinerman said yearbooks proved Doig was, in fact, in Toronto when Fletcher said he was in prison.\u003c/p>\n\u003cp>Doig’s works are prized for their ethereal scenes often with subjects appearing as ghostly figures. His painting of someone slumped over a canoe, entitled “Swamped,” sold last year at Christie’s for $25.9 million, according to the auction company’s website.\u003c/p>\n\u003cp>Some artists worried the case could set a bad precedent and lead to similar lawsuits, said Amy Adler, who teaches art and the law at New York University School of Law.\u003c/p>\n\u003cp>“This case inspires terror in some artists who fear they could end up in court for denying that a work they did not do isn’t theirs,” Adler said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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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