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"content": "\u003cp>Green paint covered tattoos on the girls' hands as they worked on the mural.\u003c/p>\n\u003cp>At Camp Joseph Scott, a juvenile detention center in Santa Clarita, five girls worked on the wall -- some standing, some crouching -- their arms occasionally crisscrossing as they painted the nature scene.\u003c/p>\n\u003cp>\"I find it like a meditating type of therapy,\" said Anaceli, 17, who was five months into a seven-month sentence. (We're not using last names to protect the identities of the minors).\u003c/p>\n\u003cp>\"It actually distracts your mind from being where we actually are for a couple of hours,\" she said. \"So that's why I like coming here.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/276811087\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>This building used to be a very undesirable destination. Just around the corner from the mural is a long hallway with 12 cells, each about the size of a parking spot, with just a bed and a small window. In the past, girls could be sent out of the dorms and into isolation, for a few hours or up to 30 days -- only rarely allowed out into this common area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Los Angeles County, home to the nation's largest juvenile justice system, is phasing out the use of that kind of solitary confinement for minors. And so the probation department has been tasked with reimagining the special housing units, or SHUs, that were used to keep young offenders in isolation.\u003c/p>\n\u003cp>The mural project at Camp Scott is one of several arts projects that have been enlisted to help enact that transformation. The change is part of an effort across the county to make juvenile detention centers less punitive and more therapeutic.\u003c/p>\n\u003cp>\"Our question was to like, let’s reimagine something that’s more positive for what they see in here,\" said Joe Galarza, an artist with the Armory Center for the Arts, who worked with the girls on the mural.\u003c/p>\n\u003cfigure id=\"attachment_11040631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040631\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg\" alt=\"All 25 women at Camp Scott were required to participate in the mural project.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young inmate at Camp Scott works on the mural project. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the girls at Camp Scott, about 25, are required to participate in this mural project. In recent months, staff at the facility painted the gray cinderblock walls pink and blue and added pink chairs and a television. This spring the mural project got underway.\u003c/p>\n\u003cp>The artists taught the girls drawing and painting basics and worked with them to plan the design of the mural. It has a road and a tree with round blossoms that will carry the words \"hope\" and \"perseverance.\" On one branch, a bird is perched, ready to take flight.\u003c/p>\n\u003cp>\u003cstrong>Reimagining the SHU\u003cbr>\n\u003c/strong>\u003cbr>\nThe L.A. County Board of Supervisors voted in May to effectively end the practice of placing incarcerated youth in solitary confinement, citing the many studies about the psychological and physical damage of isolation. Under the new guidelines, isolation is to be used only in extreme cases and kids should be monitored and have access to a mental health worker.\u003c/p>\n\u003cp>\"The hope is it’s a learning experience, as opposed to just strictly resolving the issue by locking the kid up behind a locked door and not having to deal with them,\" said interim probation chief Cal Remington.\u003c/p>\n\u003cfigure id=\"attachment_11040633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040633\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg\" alt=\"Around the corner from the mural is a row of 12 solitary confinement cells like this one.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Around the corner from the mural is a row of 12 solitary confinement cells like this one. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new rules took effect at Camp Scott and two other facilities on May 30, and will go into effect at the rest of the facilities by the end of September. The current SHUs are to be converted into \"cooling down\" areas. Probation is actually hoping to rebrand them as “hope centers.”\u003c/p>\n\u003cp>Just as this shift was getting underway, a cooperative of arts organizations was launching an initiative to provide programming to juvenile offenders year-round. And now, the Arts for Incarcerated Youth Network is working with probation and the young offenders to reimagine the SHU.\u003c/p>\n\u003cp>\"I appreciate the arts community and what they’ve done,\" Remington said. \"And the timing was good in relation to coming up with these cool down areas.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">Under the new guidelines, isolation is to be used only in extreme cases, and kids should have access to a mental health worker.\u003c/aside>\n\u003cp>Murals are going up in the four facilities with SHUs. At one site, artists are planning to coat the walls with chalkboard paint so kids can draw, write and reflect there. In another facility, kids are reflecting on the experience of solitary in creative writing classes.\u003c/p>\n\u003cp>Probation staff are undergoing training in how to diffuse situations and to be sensitive to the trauma kids in the system have faced. As solitary confinement is phased out, some officers worry about safety.\u003c/p>\n\u003cp>\"Of course I think it’s a good idea to change the rules around it, but I don’t think they should eliminate it,\" said Natonya Cantlope, who works at Camp Scott.\u003c/p>\n\u003cp>She said she worries about the elimination of a SHU because there are times when inmates get violent and need to be separated.\u003c/p>\n\u003cp>\"It’s not normal, but it goes down,\" said Cantlope. \"Them taking [solitary confinement] away from us completely? No, because it’s a lot of people that could get hurt.\"\u003c/p>\n\u003cfigure id=\"attachment_11040636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040636\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg\" alt=\"As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessica Feierman, associate director of the Juvenile Law Center, said concerns like this are a normal part of the change process.\u003c/p>\n\u003cp>\"We operate in the universe of what we know, so when you haven’t seen a facility working effectively without solitary confinement, it becomes really hard to imagine it,\" said Feierman.\u003c/p>\n\u003cp>Nineteen states and the District of Columbia have ended solitary confinement for minors in recent years. Feierman says that positive intervention techniques are key to ensuring that the transition away from the practice goes smoothly.\u003c/p>\n\u003cp>\"So [that means] good programming, thoughtful responses when youth are having trouble, full schedules with things that young people want to do,\" Feierman said.\u003c/p>\n\u003cp>\u003cstrong>More Than Murals\u003cbr>\n\u003c/strong>\u003cbr>\nThere are three juvenile halls, where young offenders are held before sentencing, and 12 camps currently open in L.A. County. Artists with the Arts for Incarcerated Youth Network are working in 10 of those sites -- aiming to keep schedules full by providing visual art, drumming, theater, poetry, creative writing classes and more.\u003c/p>\n\u003cp>The network is made up of the Armory Center for the Arts, Actors' Gang, Coalition for Engaged Education, InsideOut Writers, Rhythm Arts Alliance, Street Poets Inc., Unusual Suspects Theatre Company, WriteGirl/Bold Ink Writers and Jail Guitar Doors.\u003c/p>\n\u003cp>\"We’re so eager to integrate arts both as a diversion and also as part of a successful re-entry strategy for the kids coming out,\" said Kaile Shilling, executive director of the network. \"Putting arts front and center, before, during and after helps.\"\u003c/p>\n\u003cfigure id=\"attachment_11040638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040638\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/JoePainting-800x529.jpg\" alt=\"Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks.\" width=\"800\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-400x264.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-1180x780.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-960x635.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The programming is taking place in the afternoon or evening hours in 11-week cycles over the coming year. The county is field testing the programs at these sites, with an eye toward a new juvenile facility that will open in the spring. Campus Kilpatrick will have a \"trauma-informed\" approach, focusing less on discipline and more on rehabilitation. It will not have a SHU at all. And the L.A. County Arts Commission is working with probation to embed arts at the core of the curriculum as part of the rehabilitation process.\u003c/p>\n\u003cp>\"I’ve seen over the years the ebb and flow of different theories of how to handle kids who are detained,\" said Sherry Gold, justice deputy for Los Angeles County Supervisor Sheila Kuehl, who co-authored \u003ca href=\"http://supervisorkuehl.com/wp-content/uploads/2016/05/5.3.16-Solitary-Confinement-Motion-REVISED.pdf\">the motion restricting the use of solitary\u003c/a>. \"It’s my opinion that it’s about time that we’re recognizing that arts are a very important part of a program.\"\u003c/p>\n\u003cp>At Camp Scott, the mural project is starting to change the atmosphere on the campus. One girl said that the painting is relaxing and helps her blow off steam. Another said that having the mural in the SHU makes the space feel more peaceful and less like a prison.\u003c/p>\n\u003cp>Since participation was required at the facility, artists Galarza and Nery Gabriel Lemus said that not all of the girls were thrilled to be there. Some started to look forward to it over time, and picked up skills to improve their painting and drawing technique. But even for those who never got into it, there were valuable lessons.\u003c/p>\n\u003cp>\"Everything is interconnected,\" said Lemus. \"Sometimes it’s not just about art per se. Sometimes it’s just about being able to focus on something and get your mind off of the negativity.\"\u003c/p>\n\u003cp>Anaceli is set to go home in June and she says while she’s painting, she dreams of turning her life around once she’s out.\u003c/p>\n\u003cp>\"Engaging yourself in it makes you think a lot of positive things like, do I want to continue my life like the way I was living? Or do I want to become clean and live my life like a normal person?\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The girls completed the mural in early June and theater workshops are set to start there later this summer.\u003c/p>\n\n",
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"excerpt": "As L.A. County phases out solitary confinement for minors, officials are transforming some housing units that were used to keep young offenders in isolation.",
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"nprByline": "\u003cstrong>\u003ca href=\"http://www.scpr.org/about/people/staff/priska-neely\">Priska Neely\u003c/a>\u003cbr>\u003ca href=\"http://www.scpr.org/\">KPCC\u003c/a>\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Green paint covered tattoos on the girls' hands as they worked on the mural.\u003c/p>\n\u003cp>At Camp Joseph Scott, a juvenile detention center in Santa Clarita, five girls worked on the wall -- some standing, some crouching -- their arms occasionally crisscrossing as they painted the nature scene.\u003c/p>\n\u003cp>\"I find it like a meditating type of therapy,\" said Anaceli, 17, who was five months into a seven-month sentence. (We're not using last names to protect the identities of the minors).\u003c/p>\n\u003cp>\"It actually distracts your mind from being where we actually are for a couple of hours,\" she said. \"So that's why I like coming here.\"\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/276811087&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/276811087'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This building used to be a very undesirable destination. Just around the corner from the mural is a long hallway with 12 cells, each about the size of a parking spot, with just a bed and a small window. In the past, girls could be sent out of the dorms and into isolation, for a few hours or up to 30 days -- only rarely allowed out into this common area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, Los Angeles County, home to the nation's largest juvenile justice system, is phasing out the use of that kind of solitary confinement for minors. And so the probation department has been tasked with reimagining the special housing units, or SHUs, that were used to keep young offenders in isolation.\u003c/p>\n\u003cp>The mural project at Camp Scott is one of several arts projects that have been enlisted to help enact that transformation. The change is part of an effort across the county to make juvenile detention centers less punitive and more therapeutic.\u003c/p>\n\u003cp>\"Our question was to like, let’s reimagine something that’s more positive for what they see in here,\" said Joe Galarza, an artist with the Armory Center for the Arts, who worked with the girls on the mural.\u003c/p>\n\u003cfigure id=\"attachment_11040631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040631\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg\" alt=\"All 25 women at Camp Scott were required to participate in the mural project.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young inmate at Camp Scott works on the mural project. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the girls at Camp Scott, about 25, are required to participate in this mural project. In recent months, staff at the facility painted the gray cinderblock walls pink and blue and added pink chairs and a television. This spring the mural project got underway.\u003c/p>\n\u003cp>The artists taught the girls drawing and painting basics and worked with them to plan the design of the mural. It has a road and a tree with round blossoms that will carry the words \"hope\" and \"perseverance.\" On one branch, a bird is perched, ready to take flight.\u003c/p>\n\u003cp>\u003cstrong>Reimagining the SHU\u003cbr>\n\u003c/strong>\u003cbr>\nThe L.A. County Board of Supervisors voted in May to effectively end the practice of placing incarcerated youth in solitary confinement, citing the many studies about the psychological and physical damage of isolation. Under the new guidelines, isolation is to be used only in extreme cases and kids should be monitored and have access to a mental health worker.\u003c/p>\n\u003cp>\"The hope is it’s a learning experience, as opposed to just strictly resolving the issue by locking the kid up behind a locked door and not having to deal with them,\" said interim probation chief Cal Remington.\u003c/p>\n\u003cfigure id=\"attachment_11040633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040633\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg\" alt=\"Around the corner from the mural is a row of 12 solitary confinement cells like this one.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Around the corner from the mural is a row of 12 solitary confinement cells like this one. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new rules took effect at Camp Scott and two other facilities on May 30, and will go into effect at the rest of the facilities by the end of September. The current SHUs are to be converted into \"cooling down\" areas. Probation is actually hoping to rebrand them as “hope centers.”\u003c/p>\n\u003cp>Just as this shift was getting underway, a cooperative of arts organizations was launching an initiative to provide programming to juvenile offenders year-round. And now, the Arts for Incarcerated Youth Network is working with probation and the young offenders to reimagine the SHU.\u003c/p>\n\u003cp>\"I appreciate the arts community and what they’ve done,\" Remington said. \"And the timing was good in relation to coming up with these cool down areas.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">Under the new guidelines, isolation is to be used only in extreme cases, and kids should have access to a mental health worker.\u003c/aside>\n\u003cp>Murals are going up in the four facilities with SHUs. At one site, artists are planning to coat the walls with chalkboard paint so kids can draw, write and reflect there. In another facility, kids are reflecting on the experience of solitary in creative writing classes.\u003c/p>\n\u003cp>Probation staff are undergoing training in how to diffuse situations and to be sensitive to the trauma kids in the system have faced. As solitary confinement is phased out, some officers worry about safety.\u003c/p>\n\u003cp>\"Of course I think it’s a good idea to change the rules around it, but I don’t think they should eliminate it,\" said Natonya Cantlope, who works at Camp Scott.\u003c/p>\n\u003cp>She said she worries about the elimination of a SHU because there are times when inmates get violent and need to be separated.\u003c/p>\n\u003cp>\"It’s not normal, but it goes down,\" said Cantlope. \"Them taking [solitary confinement] away from us completely? No, because it’s a lot of people that could get hurt.\"\u003c/p>\n\u003cfigure id=\"attachment_11040636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040636\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg\" alt=\"As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessica Feierman, associate director of the Juvenile Law Center, said concerns like this are a normal part of the change process.\u003c/p>\n\u003cp>\"We operate in the universe of what we know, so when you haven’t seen a facility working effectively without solitary confinement, it becomes really hard to imagine it,\" said Feierman.\u003c/p>\n\u003cp>Nineteen states and the District of Columbia have ended solitary confinement for minors in recent years. Feierman says that positive intervention techniques are key to ensuring that the transition away from the practice goes smoothly.\u003c/p>\n\u003cp>\"So [that means] good programming, thoughtful responses when youth are having trouble, full schedules with things that young people want to do,\" Feierman said.\u003c/p>\n\u003cp>\u003cstrong>More Than Murals\u003cbr>\n\u003c/strong>\u003cbr>\nThere are three juvenile halls, where young offenders are held before sentencing, and 12 camps currently open in L.A. County. Artists with the Arts for Incarcerated Youth Network are working in 10 of those sites -- aiming to keep schedules full by providing visual art, drumming, theater, poetry, creative writing classes and more.\u003c/p>\n\u003cp>The network is made up of the Armory Center for the Arts, Actors' Gang, Coalition for Engaged Education, InsideOut Writers, Rhythm Arts Alliance, Street Poets Inc., Unusual Suspects Theatre Company, WriteGirl/Bold Ink Writers and Jail Guitar Doors.\u003c/p>\n\u003cp>\"We’re so eager to integrate arts both as a diversion and also as part of a successful re-entry strategy for the kids coming out,\" said Kaile Shilling, executive director of the network. \"Putting arts front and center, before, during and after helps.\"\u003c/p>\n\u003cfigure id=\"attachment_11040638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040638\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/JoePainting-800x529.jpg\" alt=\"Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks.\" width=\"800\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-400x264.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-1180x780.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-960x635.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The programming is taking place in the afternoon or evening hours in 11-week cycles over the coming year. The county is field testing the programs at these sites, with an eye toward a new juvenile facility that will open in the spring. Campus Kilpatrick will have a \"trauma-informed\" approach, focusing less on discipline and more on rehabilitation. It will not have a SHU at all. And the L.A. County Arts Commission is working with probation to embed arts at the core of the curriculum as part of the rehabilitation process.\u003c/p>\n\u003cp>\"I’ve seen over the years the ebb and flow of different theories of how to handle kids who are detained,\" said Sherry Gold, justice deputy for Los Angeles County Supervisor Sheila Kuehl, who co-authored \u003ca href=\"http://supervisorkuehl.com/wp-content/uploads/2016/05/5.3.16-Solitary-Confinement-Motion-REVISED.pdf\">the motion restricting the use of solitary\u003c/a>. \"It’s my opinion that it’s about time that we’re recognizing that arts are a very important part of a program.\"\u003c/p>\n\u003cp>At Camp Scott, the mural project is starting to change the atmosphere on the campus. One girl said that the painting is relaxing and helps her blow off steam. Another said that having the mural in the SHU makes the space feel more peaceful and less like a prison.\u003c/p>\n\u003cp>Since participation was required at the facility, artists Galarza and Nery Gabriel Lemus said that not all of the girls were thrilled to be there. Some started to look forward to it over time, and picked up skills to improve their painting and drawing technique. But even for those who never got into it, there were valuable lessons.\u003c/p>\n\u003cp>\"Everything is interconnected,\" said Lemus. \"Sometimes it’s not just about art per se. Sometimes it’s just about being able to focus on something and get your mind off of the negativity.\"\u003c/p>\n\u003cp>Anaceli is set to go home in June and she says while she’s painting, she dreams of turning her life around once she’s out.\u003c/p>\n\u003cp>\"Engaging yourself in it makes you think a lot of positive things like, do I want to continue my life like the way I was living? Or do I want to become clean and live my life like a normal person?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The network behind the animated series \u003cem>Arthur\u003c/em> is disappointed that social media users are combining images from the long-running children’s’ show with explicit situations and language.\u003c/p>\n\u003cp>A spokeswoman for WGBH in Boston said in a statement Wednesday the \u003cem>Arthur\u003c/em> network appreciates that several internet memes “have been created and shared in good fun” but are “disappointed by the few that are outside of good taste.”\u003c/p>\n\u003cp>The bespectacled aardvark Arthur and his friends have been featured in an array of mature internet memes distributed over the past week casting the cartoon characters in various scenarios involving sex, drugs and race.\u003c/p>\n\u003cfigure id=\"attachment_11892183\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/thug-life-meme-arthur.jpeg\" alt=\"An 'Arthur' meme\" width=\"500\" height=\"395\" class=\"size-full wp-image-11892183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/thug-life-meme-arthur.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/thug-life-meme-arthur-400x316.jpeg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">An ‘Arthur’ meme\u003c/figcaption>\u003c/figure>\n\u003cp>While many users have employed an image of Arthur’s clenched first to jokingly suggest frustrating experiences, such as splitting checks at a restaurant, others have used the show’s visuals to suggest an incestuous relationship between Arthur and his sister or other sexual situations. One clip dubbed a scene from the cartoon with sexual and racial language.\u003c/p>\n\u003cp>“Our hope is that Arthur and his friends will be depicted in a way that is respectful and appropriate for all audiences, including young Arthur fans and their families,” said WGBH spokeswoman Ellen London.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The nearly 20-year-old Emmy-winning show is based on the children’s book series by Marc Brown, who did not immediately respond to messages seeking comment about the internet memes.\u003c/p>\n\u003cp>\u003cem>Arthur\u003c/em> debuted in 1996 and continues to air on PBS stations. The educational series often tackles intrapersonal issues and has featured episodes dealing with asthma, dyslexia and diabetes.\u003c/p>\n\u003cp>“We certainly are lucky to have a fan base that is so engaged with Arthur, especially those millennials who grew up with him,” said London.\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>The network behind the animated series \u003cem>Arthur\u003c/em> is disappointed that social media users are combining images from the long-running children’s’ show with explicit situations and language.\u003c/p>\n\u003cp>A spokeswoman for WGBH in Boston said in a statement Wednesday the \u003cem>Arthur\u003c/em> network appreciates that several internet memes “have been created and shared in good fun” but are “disappointed by the few that are outside of good taste.”\u003c/p>\n\u003cp>The bespectacled aardvark Arthur and his friends have been featured in an array of mature internet memes distributed over the past week casting the cartoon characters in various scenarios involving sex, drugs and race.\u003c/p>\n\u003cfigure id=\"attachment_11892183\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/thug-life-meme-arthur.jpeg\" alt=\"An 'Arthur' meme\" width=\"500\" height=\"395\" class=\"size-full wp-image-11892183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/thug-life-meme-arthur.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/thug-life-meme-arthur-400x316.jpeg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">An ‘Arthur’ meme\u003c/figcaption>\u003c/figure>\n\u003cp>While many users have employed an image of Arthur’s clenched first to jokingly suggest frustrating experiences, such as splitting checks at a restaurant, others have used the show’s visuals to suggest an incestuous relationship between Arthur and his sister or other sexual situations. One clip dubbed a scene from the cartoon with sexual and racial language.\u003c/p>\n\u003cp>“Our hope is that Arthur and his friends will be depicted in a way that is respectful and appropriate for all audiences, including young Arthur fans and their families,” said WGBH spokeswoman Ellen London.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nearly 20-year-old Emmy-winning show is based on the children’s book series by Marc Brown, who did not immediately respond to messages seeking comment about the internet memes.\u003c/p>\n\u003cp>\u003cem>Arthur\u003c/em> debuted in 1996 and continues to air on PBS stations. The educational series often tackles intrapersonal issues and has featured episodes dealing with asthma, dyslexia and diabetes.\u003c/p>\n\u003cp>“We certainly are lucky to have a fan base that is so engaged with Arthur, especially those millennials who grew up with him,” said London.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sesame Workshop has apologized for what it calls “misunderstandings around the changing cast roles at \u003cem>Sesame Street\u003c/em>.”\u003c/p>\n\u003cp>A statement issued Tuesday by Sesame Workshop CEO Jeffrey D. Dunn attempted to clarify the status of three veteran actors on the long-running children’s series: Emilio Delgado, who plays Luis the handyman; Roscoe Orman, who has played original character Gordon since 1974; and Bob McGrath, who was part of the original cast in 1969.\u003c/p>\n\u003cp>[contextly_sidebar id=”qnk5faiEPHF3b9HrQCrcnWOa69ePpkDL”]\u003c/p>\n\u003cp>Last week, a public uproar erupted from McGrath’s assertion that he and his co-stars had been fired months before.\u003c/p>\n\u003cp>The children’s show said that McGrath and Delgado last performed in episodes taped in 2013. Orman has filmed new appearances for the current season of the show, which, beginning this year, is airing on HBO as well as on PBS.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dunn said that in 2014 the producers informed all the cast members that demands on them would be reduced in keeping with the series’ new half-hour format. However, “the door was left open for all actors to continue to appear” based on future story lines.\u003c/p>\n\u003cp>But Dunn acknowledged that producers could have done a better job of communicating future episode plans with the three stars in question.\u003c/p>\n\u003cp>He said he expected to meet with each of them to discuss “how we best adapt their talents to the current content needs and preschool media landscape, in a way that honors their historic contributions.”\u003c/p>\n\u003cp>In a statement, Orman confirmed that such a meeting is set for September.\u003c/p>\n\u003cp>“Hopefully, this will result in upcoming productions,” said Orman, who added he would share the results of that meeting with his fans.\u003c/p>\n\u003cp>A representative for Delgado referred The Associated Press to Sesame Workshop. McGrath could not be immediately reached for comment.\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>Sesame Workshop has apologized for what it calls “misunderstandings around the changing cast roles at \u003cem>Sesame Street\u003c/em>.”\u003c/p>\n\u003cp>A statement issued Tuesday by Sesame Workshop CEO Jeffrey D. Dunn attempted to clarify the status of three veteran actors on the long-running children’s series: Emilio Delgado, who plays Luis the handyman; Roscoe Orman, who has played original character Gordon since 1974; and Bob McGrath, who was part of the original cast in 1969.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last week, a public uproar erupted from McGrath’s assertion that he and his co-stars had been fired months before.\u003c/p>\n\u003cp>The children’s show said that McGrath and Delgado last performed in episodes taped in 2013. Orman has filmed new appearances for the current season of the show, which, beginning this year, is airing on HBO as well as on PBS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dunn said that in 2014 the producers informed all the cast members that demands on them would be reduced in keeping with the series’ new half-hour format. However, “the door was left open for all actors to continue to appear” based on future story lines.\u003c/p>\n\u003cp>But Dunn acknowledged that producers could have done a better job of communicating future episode plans with the three stars in question.\u003c/p>\n\u003cp>He said he expected to meet with each of them to discuss “how we best adapt their talents to the current content needs and preschool media landscape, in a way that honors their historic contributions.”\u003c/p>\n\u003cp>In a statement, Orman confirmed that such a meeting is set for September.\u003c/p>\n\u003cp>“Hopefully, this will result in upcoming productions,” said Orman, who added he would share the results of that meeting with his fans.\u003c/p>\n\u003cp>A representative for Delgado referred The Associated Press to Sesame Workshop. McGrath could not be immediately reached for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happens when two women of color who play punk rock come together for dinner? In the case of Michelle Gonzales, former drummer of ’90s anarcho punks Spitboy, and Christine Tupou of Try the Pie, the result was a revealing conversation over homemade tacos about the difficulties they face in the punk scene.\u003c/p>\n\u003cp>[contextly_sidebar id=”ZLSNE30gBJF5waCzXqfuJR75VA8XT9ey”]\u003c/p>\n\u003cp>It may be hard for some to admit, but punk rock has always been dominated by white males. There are some high-profile exceptions — Bad Brains, Bikini Kill — but women of color are unfortunately rare in the punk scene.\u003c/p>\n\u003cp>As you’ll see in the video above, Gonzales — who details her Spitboy days in the memoir \u003cem>The Spitboy Rule: Tales Of A Female Punk Band\u003c/em> — describes “coming out as Chicana” in a scene that should’ve been more inclusive, only to learn from Tupou, raised in Tongan churches by her Polynesian father, that things haven’t changed much in the past 25 years.\u003c/p>\n\u003cp>– \u003cem>Kevin Jones\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens when two women of color who play punk rock come together for dinner? In the case of Michelle Gonzales, former drummer of ’90s anarcho punks Spitboy, and Christine Tupou of Try the Pie, the result was a revealing conversation over homemade tacos about the difficulties they face in the punk scene.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It may be hard for some to admit, but punk rock has always been dominated by white males. There are some high-profile exceptions — Bad Brains, Bikini Kill — but women of color are unfortunately rare in the punk scene.\u003c/p>\n\u003cp>As you’ll see in the video above, Gonzales — who details her Spitboy days in the memoir \u003cem>The Spitboy Rule: Tales Of A Female Punk Band\u003c/em> — describes “coming out as Chicana” in a scene that should’ve been more inclusive, only to learn from Tupou, raised in Tongan churches by her Polynesian father, that things haven’t changed much in the past 25 years.\u003c/p>\n\u003cp>– \u003cem>Kevin Jones\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The World According to Sound: The Hour of Charm Orchestra",
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"content": "\u003cp>With the \u003cspan class=\"il\">Hour\u003c/span> \u003cspan class=\"il\">of\u003c/span> \u003cspan class=\"il\">Charm\u003c/span> Orchestra, the show revolved more around who the performers were and what they looked like rather than the music they produced.\u003c/p>\n\u003cp>The band was popular in the 1930s and 1940s, and the schtick was that the orchestra was all female — except, of course, for the bandleader and boss, Phil Spitalny.\u003c/p>\n\u003cp>Spitalny's logic for creating an all-female orchestra was that the music would be more soothing and charming because it was being created by women instead of men. The music was arranged and performed to embody these stereotypical female characteristics.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/276000061\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"150\" iframe=\"true\" /]\u003c/p>\n\u003cp>The all-women marketing scheme that Spitalny devised helped to make his band a hit. For a full dose of the sexism behind his whole concept, here’s what Spitalny told The Etude music magazine in 1938:\u003c/p>\n\u003cblockquote>\u003cp>If I were seeking an effect of power, of heavy beats, of sort of military precision that commands you against your will, I should certainly not go to work with a group of girls. But the effect desired was one of charm, of mellowness, of floating, elusive persuasion. And so it seemed the most natural logical thing in the world to assemble a band of women and to ask them simply to go on being charming women in their playing.\u003c/p>\u003c/blockquote>\n\u003cp>Right, the most natural logical thing. Who knows how much Spitalny believed what he was spewing about the divide between music made by women and music made by men? But regardless, it resonated. He was able to turn his gimmick into a profitable little affair.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Hour of Charm Orchestra was especially popular with the Army. The music was played for U.S. servicemen on bases around the world. The idea was that soldiers would find the music soothing because it was made entirely by women, but not just any women.\u003c/p>\n\u003caside class=\"pullquote aligncenter\">'And where in the world can you find a better exponent of charm than a charming young woman?' \u003ccite>Phil Spitalny, bandleader\u003c/cite>\u003c/aside>\n\u003cp>To play in the orchestra, women had to meet all sorts of requirements that had nothing to do with their ability to play music. It has been reported that to be in the orchestra, women had to be in their 20s, have long flowing hair and weigh less than 120 pounds. They weren’t allowed to marry and needed permission to date. You can read more about the rules and history of the Hour of Charm Orchestra \u003ca href=\"http://www.mwotrc.com/rr2008_02/charm.htm\">here\u003c/a>, courtesy of the Metropolitan Washington Old Time Radio Club.\u003c/p>\n\u003cp>From the description above, one might assume that the show was successful because men wanted to see a group of women who fit virginal stereotypes performing up on a stage. And that was certainly part of it. \u003c/p>\n\u003cp>The orchestra did \u003ca href=\"https://www.youtube.com/watch?v=bhtkviTqCEE\">the show live\u003c/a>, and many in the audience probably watched to see “charming” women in concert. But the allure of the show came less from visual stimulation and more from a belief that sound in some way carried the essence of whatever or whoever produced it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bhtkviTqCEE\u003c/p>\n\u003cp>Many listeners didn't see the women at all, though. The music came to them from a record player or through the radio. Spitalny promised to deliver the charm of women channeled through music, as if the sound could somehow embody and transmit the characteristics of its makers — virginal, beautiful young women. You can imagine listeners, maybe lonely Army men scattered across the globe, tuning in, believing that the sounds they were hearing really carried the charms of the women who produced them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little piece of music history comes to us from the \u003ca href=\"https://library.stanford.edu/ars\">Archive of Recorded Sound\u003c/a> at Stanford University. To hear more sounds of the world, check out \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a> podcast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the \u003cspan class=\"il\">Hour\u003c/span> \u003cspan class=\"il\">of\u003c/span> \u003cspan class=\"il\">Charm\u003c/span> Orchestra, the show revolved more around who the performers were and what they looked like rather than the music they produced.\u003c/p>\n\u003cp>The band was popular in the 1930s and 1940s, and the schtick was that the orchestra was all female — except, of course, for the bandleader and boss, Phil Spitalny.\u003c/p>\n\u003cp>Spitalny's logic for creating an all-female orchestra was that the music would be more soothing and charming because it was being created by women instead of men. The music was arranged and performed to embody these stereotypical female characteristics.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='150'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/276000061&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/276000061'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The all-women marketing scheme that Spitalny devised helped to make his band a hit. For a full dose of the sexism behind his whole concept, here’s what Spitalny told The Etude music magazine in 1938:\u003c/p>\n\u003cblockquote>\u003cp>If I were seeking an effect of power, of heavy beats, of sort of military precision that commands you against your will, I should certainly not go to work with a group of girls. But the effect desired was one of charm, of mellowness, of floating, elusive persuasion. And so it seemed the most natural logical thing in the world to assemble a band of women and to ask them simply to go on being charming women in their playing.\u003c/p>\u003c/blockquote>\n\u003cp>Right, the most natural logical thing. Who knows how much Spitalny believed what he was spewing about the divide between music made by women and music made by men? But regardless, it resonated. He was able to turn his gimmick into a profitable little affair.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Hour of Charm Orchestra was especially popular with the Army. The music was played for U.S. servicemen on bases around the world. The idea was that soldiers would find the music soothing because it was made entirely by women, but not just any women.\u003c/p>\n\u003caside class=\"pullquote aligncenter\">'And where in the world can you find a better exponent of charm than a charming young woman?' \u003ccite>Phil Spitalny, bandleader\u003c/cite>\u003c/aside>\n\u003cp>To play in the orchestra, women had to meet all sorts of requirements that had nothing to do with their ability to play music. It has been reported that to be in the orchestra, women had to be in their 20s, have long flowing hair and weigh less than 120 pounds. They weren’t allowed to marry and needed permission to date. You can read more about the rules and history of the Hour of Charm Orchestra \u003ca href=\"http://www.mwotrc.com/rr2008_02/charm.htm\">here\u003c/a>, courtesy of the Metropolitan Washington Old Time Radio Club.\u003c/p>\n\u003cp>From the description above, one might assume that the show was successful because men wanted to see a group of women who fit virginal stereotypes performing up on a stage. And that was certainly part of it. \u003c/p>\n\u003cp>The orchestra did \u003ca href=\"https://www.youtube.com/watch?v=bhtkviTqCEE\">the show live\u003c/a>, and many in the audience probably watched to see “charming” women in concert. But the allure of the show came less from visual stimulation and more from a belief that sound in some way carried the essence of whatever or whoever produced it.\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/bhtkviTqCEE'\n title='//www.youtube.com/embed/bhtkviTqCEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many listeners didn't see the women at all, though. The music came to them from a record player or through the radio. Spitalny promised to deliver the charm of women channeled through music, as if the sound could somehow embody and transmit the characteristics of its makers — virginal, beautiful young women. You can imagine listeners, maybe lonely Army men scattered across the globe, tuning in, believing that the sounds they were hearing really carried the charms of the women who produced them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little piece of music history comes to us from the \u003ca href=\"https://library.stanford.edu/ars\">Archive of Recorded Sound\u003c/a> at Stanford University. To hear more sounds of the world, check out \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a> podcast.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Betty Guy, a beloved, internationally-renowned watercolor artist and San Francisco native, has died. She was 95.\u003c/p>\n\u003cp>Guy, who passed away on July 22 at her home in Bernal Heights, was the house artist for the San Francisco Opera and San Francisco Ballet right up to her death, and counted John Steinbeck and England’s Queen Elizabeth II as fans.\u003c/p>\n\u003cp>“Betty was an incredible chronicler of the artistic richness of San Francisco Opera,” Matthew Shilvock, San Francisco Opera’s general director, said. “Over decades she told in painting the story of our stage, and did so quietly but with humor and incredible heart. She always had a smile (and a kiss) for you and in that smile was everything good about San Francisco Opera. We miss her deeply.”\u003c/p>\n\u003cfigure id=\"attachment_11884896\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas.jpeg\" alt='\"In Venice\" by Betty Guy' width=\"1920\" height=\"1625\" class=\"size-full wp-image-11884896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-400x339.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-709x600.jpeg 709w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-768x650.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-1180x999.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-960x813.jpeg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“In Venice” by Betty Guy \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in San Francisco in 1920, Guy developed her painting style while attending UC Berkeley and later, the L’Académie de la Grande Chaumiere in Paris, France. Her big break came in 1961, when her show at San Francisco’s Legion of Honor was described as being “\u003ca href=\"http://www.legacy.com/obituaries/sfgate/obituary.aspx?n=betty-guy&pid=180805557\" target=\"_blank\" rel=\"noopener\">the most delightful show of the year\u003c/a>” by San Francisco Chronicle art critic Alfred Frankenstein.\u003c/p>\n\u003cp>Guy went on to exhibit all over the world, and to work for institutions such as the San Francisco Symphony, the Port of San Francisco and Royal Viking Cruise lines, among others. For three decades she was an in-house artist at the high-end department store Gump’s, making her the artist who worked there the longest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1983, Queen Elizabeth II visited San Francisco and received a Guy painting as a gift from the Port of San Francisco. The \u003ca href=\"http://www.meibohmfinearts.com/artists.aspx?ID=114\" target=\"_blank\" rel=\"noopener\">queen later wrote the Port\u003c/a>, thanking its representatives for the painting and adding, “the picture will always awaken some very happy memories of their stay in your lovely city.”\u003c/p>\n\u003cp>Guy managed to come in regularly to work at the San Francisco Opera until recently, when health issues kept her homebound. After her passing, San Francisco Opera retail manager Jay Stebley sent this message to his co-workers:\u003c/p>\n\u003cblockquote>\u003cp>I was afraid that Betty’s health was in decline in the last year when her elfin appearances in the Opera House became fewer until she finally called to say she wouldn’t be bringing her paintings in last fall. She had shown up without fail every season for decades to sketch the dress rehearsals for the wonderful water colors she then had autographed by the artists on stage. Hundreds of patrons have purchased her paintings over the years, the proceeds going to San Francisco Opera, a company she loved with a passion. There are few folks here who don’t know her work since it has appeared on program covers, books about SFO, in galleries and, of course, on SFO stationery and prints. Her distinctive and cheerful style captured the essence of grand opera and she gloried in the beauty of the War Memorial Opera house itself. Please read her obituary; you will realize what an extraordinary and wide-ranging artist she was.\u003c/p>\n\u003cp>And she was a wonderful, loving person, a perpetual smile in sensible shoes. The last couple of seasons, I have been asked almost every night by patrons missing her presence and her work in the Opera Shop about her health and it is with great sadness that I share this news with you. I’ll miss the kiss on my cheek she always dispensed on opening night…\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Services will be celebrated for Guy at 11am on Tuesday, Aug. 2 at the Sinai Memorial Chapel in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Betty Guy, a beloved, internationally-renowned watercolor artist and San Francisco native, has died. She was 95.\u003c/p>\n\u003cp>Guy, who passed away on July 22 at her home in Bernal Heights, was the house artist for the San Francisco Opera and San Francisco Ballet right up to her death, and counted John Steinbeck and England’s Queen Elizabeth II as fans.\u003c/p>\n\u003cp>“Betty was an incredible chronicler of the artistic richness of San Francisco Opera,” Matthew Shilvock, San Francisco Opera’s general director, said. “Over decades she told in painting the story of our stage, and did so quietly but with humor and incredible heart. She always had a smile (and a kiss) for you and in that smile was everything good about San Francisco Opera. We miss her deeply.”\u003c/p>\n\u003cfigure id=\"attachment_11884896\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas.jpeg\" alt='\"In Venice\" by Betty Guy' width=\"1920\" height=\"1625\" class=\"size-full wp-image-11884896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-400x339.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-709x600.jpeg 709w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-768x650.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-1180x999.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Betty-Cuy-WC-umbrellas-960x813.jpeg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“In Venice” by Betty Guy \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in San Francisco in 1920, Guy developed her painting style while attending UC Berkeley and later, the L’Académie de la Grande Chaumiere in Paris, France. Her big break came in 1961, when her show at San Francisco’s Legion of Honor was described as being “\u003ca href=\"http://www.legacy.com/obituaries/sfgate/obituary.aspx?n=betty-guy&pid=180805557\" target=\"_blank\" rel=\"noopener\">the most delightful show of the year\u003c/a>” by San Francisco Chronicle art critic Alfred Frankenstein.\u003c/p>\n\u003cp>Guy went on to exhibit all over the world, and to work for institutions such as the San Francisco Symphony, the Port of San Francisco and Royal Viking Cruise lines, among others. For three decades she was an in-house artist at the high-end department store Gump’s, making her the artist who worked there the longest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1983, Queen Elizabeth II visited San Francisco and received a Guy painting as a gift from the Port of San Francisco. The \u003ca href=\"http://www.meibohmfinearts.com/artists.aspx?ID=114\" target=\"_blank\" rel=\"noopener\">queen later wrote the Port\u003c/a>, thanking its representatives for the painting and adding, “the picture will always awaken some very happy memories of their stay in your lovely city.”\u003c/p>\n\u003cp>Guy managed to come in regularly to work at the San Francisco Opera until recently, when health issues kept her homebound. After her passing, San Francisco Opera retail manager Jay Stebley sent this message to his co-workers:\u003c/p>\n\u003cblockquote>\u003cp>I was afraid that Betty’s health was in decline in the last year when her elfin appearances in the Opera House became fewer until she finally called to say she wouldn’t be bringing her paintings in last fall. She had shown up without fail every season for decades to sketch the dress rehearsals for the wonderful water colors she then had autographed by the artists on stage. Hundreds of patrons have purchased her paintings over the years, the proceeds going to San Francisco Opera, a company she loved with a passion. There are few folks here who don’t know her work since it has appeared on program covers, books about SFO, in galleries and, of course, on SFO stationery and prints. Her distinctive and cheerful style captured the essence of grand opera and she gloried in the beauty of the War Memorial Opera house itself. Please read her obituary; you will realize what an extraordinary and wide-ranging artist she was.\u003c/p>\n\u003cp>And she was a wonderful, loving person, a perpetual smile in sensible shoes. The last couple of seasons, I have been asked almost every night by patrons missing her presence and her work in the Opera Shop about her health and it is with great sadness that I share this news with you. I’ll miss the kiss on my cheek she always dispensed on opening night…\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Services will be celebrated for Guy at 11am on Tuesday, Aug. 2 at the Sinai Memorial Chapel in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Starz network has found an avid audience targeting what its boss regards as “underserved” viewers like women and African-Americans with high-quality series.\u003c/p>\n\u003cp>But much to Chris Albrecht’s exasperation, Emmy doesn’t notice.\u003c/p>\n\u003cp>“I was part of the team that invented how to campaign for Emmy awards,” the Starz CEO told TV writers Monday at the Television Critics Association meeting. “Trust me, it’s not a level playing field. I spent years inside the TV Academy, working it. It took a lot of money, and there’s a certain momentum that goes along with that.”\u003c/p>\n\u003cp>Starz, which has won audiences and critical acclaim for such series as \u003cem>Outlander\u003c/em>, \u003cem>Power\u003c/em> and \u003cem>Ash vs. Evil Dead\u003c/em>, routinely gets the cold shoulder from the Television Academy.\u003c/p>\n\u003cp>It is happening again this year. Starz’ only 2016 Emmy nods amount to four technical nominations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We couldn’t be more proud of the work that is being done by the people on these shows,” said Albrecht. “They are award-worthy. Whether it’s an Emmy award or not is not the point.”\u003c/p>\n\u003cp>Albrecht thinks it’s the Television Academy that’s missing the point, failing to recognize what he called “an unprecedented time in our industry” with an explosion of deserving programs and mushrooming numbers of channels.\u003c/p>\n\u003cp>The Academy, he said, “should be finding a way to platform the diversity, to have something that reflects this expansion, and not have what is continually, by these sheer numbers, something that ends up with a longer list of losers and the same number of winners.\u003c/p>\n\u003cp>“I don’t worry about that,” he insisted. “I know my staff worries about it. I know the people who work on these shows like to see their names included with the names of their peers (at award time).”\u003c/p>\n\u003cp>And sooner or later, there will be a Starz show that breaks through and scores Emmy love, Albrecht predicted. “You won’t know which one it is, and all of a sudden it will be the one.”\u003c/p>\n\u003cp>But there won’t be a better reason for that show’s reception than there would have been for \u003cem>Outlander\u003c/em> or \u003cem>Power\u003c/em> or \u003cem>Survivor’s Remorse\u003c/em>, he declared: “It’ll just be a reason.\u003c/p>\n\u003cp>“This is all, this is all,” he summed up haltingly, trying to find an acceptable way to sum up how he sees Emmy’s snubs — “silly.”\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>Starz network has found an avid audience targeting what its boss regards as “underserved” viewers like women and African-Americans with high-quality series.\u003c/p>\n\u003cp>But much to Chris Albrecht’s exasperation, Emmy doesn’t notice.\u003c/p>\n\u003cp>“I was part of the team that invented how to campaign for Emmy awards,” the Starz CEO told TV writers Monday at the Television Critics Association meeting. “Trust me, it’s not a level playing field. I spent years inside the TV Academy, working it. It took a lot of money, and there’s a certain momentum that goes along with that.”\u003c/p>\n\u003cp>Starz, which has won audiences and critical acclaim for such series as \u003cem>Outlander\u003c/em>, \u003cem>Power\u003c/em> and \u003cem>Ash vs. Evil Dead\u003c/em>, routinely gets the cold shoulder from the Television Academy.\u003c/p>\n\u003cp>It is happening again this year. Starz’ only 2016 Emmy nods amount to four technical nominations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We couldn’t be more proud of the work that is being done by the people on these shows,” said Albrecht. “They are award-worthy. Whether it’s an Emmy award or not is not the point.”\u003c/p>\n\u003cp>Albrecht thinks it’s the Television Academy that’s missing the point, failing to recognize what he called “an unprecedented time in our industry” with an explosion of deserving programs and mushrooming numbers of channels.\u003c/p>\n\u003cp>The Academy, he said, “should be finding a way to platform the diversity, to have something that reflects this expansion, and not have what is continually, by these sheer numbers, something that ends up with a longer list of losers and the same number of winners.\u003c/p>\n\u003cp>“I don’t worry about that,” he insisted. “I know my staff worries about it. I know the people who work on these shows like to see their names included with the names of their peers (at award time).”\u003c/p>\n\u003cp>And sooner or later, there will be a Starz show that breaks through and scores Emmy love, Albrecht predicted. “You won’t know which one it is, and all of a sudden it will be the one.”\u003c/p>\n\u003cp>But there won’t be a better reason for that show’s reception than there would have been for \u003cem>Outlander\u003c/em> or \u003cem>Power\u003c/em> or \u003cem>Survivor’s Remorse\u003c/em>, he declared: “It’ll just be a reason.\u003c/p>\n\u003cp>“This is all, this is all,” he summed up haltingly, trying to find an acceptable way to sum up how he sees Emmy’s snubs — “silly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A bright new album released on cassette, another \u003cem>recorded\u003c/em> on cassette and a daughter paying lovingly energetic tribute to her mom's punk youth. But don't dismiss these three summer picks as wistful nostalgia.\u003c/p>\n\u003cp>\u003cb>Yea-Ming and the Rumours, 'I Will Make You Mine'\u003c/b>\u003c/p>\n\u003cp>The songs on \u003ca href=\"https://yea-ming.bandcamp.com/\" target=\"_blank\">Yea-Ming and the Rumours\u003c/a>’ debut album, “I Will Make You Mine,” are some of the sweetest, sunniest '60s-evoking folk-pop you’ll hear — except for the dark, even menacing bits that unexpectedly peek out of shadows that you might not even have noticed. “Gunshots ring out on the street,” the Bay Area native Yea-Ming Chen sings in the middle of the otherwise bubbly opener, “Where Did Our Moment Go,” a little pathetic fallacy of the lost moment.\u003c/p>\n\u003cp>“Don’t Be Mean” holds some anxious fear in its rebuke. “When You Were Young” isn’t so much nostalgic as disillusioned. And in that context, it’s hard to see the determination of the title song — the bounciest, bubbliest of the bunch — as not having an element of threat, even before you hear the lyrics describe post-one-night-stand obsession.\u003c/p>\n\u003cp>Somehow it’s perfect that this is only available, at first at least, in formats old (cassette, via Burger Records) and digital (via Bandcamp), wittingly or otherwise representing the mix of past sounds and current attitudes. But don’t mistake the latter for cynicism or snark, or even irony. It’s observation and reflection, recognition that conflicting ideas and emotions coexist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vf7LZifk014\u003c/p>\n\u003cp>Same, to some extent, in the music. Chen, bassist Anna Hillburg and drummer Sonia Hayden all come from the indie band Dreamdate, as does the basic sound, with new member Eoin Galvin Overall adding guitars (including some subtle slide work). It’s the We Five’s sparkle dabbed with the Velvet Underground’s grime, maybe. And at times it veers into countryesque lilt, accenting the heartache in some songs — but also accenting the hopefulness. Hopeful heartache. That’s the (hopeful?) heart of Yea-Ming and the Rumours.\u003c/p>\n\u003cp>\u003cb>Venus and the Moon, 'Brother, Son'\u003c/b>\u003c/p>\n\u003cp>If you simply heard there was a singer named Rain Phoenix, without knowing the back story of her life as an actress and sister of Joaquin (and the late River), you’d probably imagine her making music exactly as is heard on this debut from \u003ca href=\"http://www.venusandthemoon.net/\" target=\"_blank\">Venus and the Moon\u003c/a>, her Los Angeles-based duo with singer Frally Hynes.\u003c/p>\n\u003cp>Everything from the low-key, intimate sound (they call it “galactic country”) to the album title “Brother, Son” (the songs honor the important males in their lives, past and present), to the spare sound of the performances recorded on a 4-track cassette (given to Rain by River when she was a teen) to the black-and-white cover photo of two Earth-priest figures standing against a rock outcropping says \"neo-hippie nature-children.\"\u003c/p>\n\u003cp>Well, that’s not a bad thing. Not at all. The giddy joy of “Marry Me” (“Marry me to the song of the wind,” they harmonize over briskly strummed acoustic guitar) is all smiles. “Die Slow” is more ruminative, but with a genteel fragility held together with hope. “Paper Cup” (the song in which the album title is heard) is a sweet lullaby for a childhood gone, but not lost, a perfect mix of sadness and hope (“there was a time you loved yourself,” “everyone knows we’re not on our own out here”).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RgGWCryY8RU\u003c/p>\n\u003cp>It’s something of a contrast from the more forward approach of Phoenix’s prior band, Papercranes, and of a much-more-produced 2015 Venus 7-inch single release featuring appearances by Rufus Wainwright and Chris Stills (Stephen’s son). But there’s a closeness to this that’s far more personal and affecting.\u003c/p>\n\u003cp>Touches of slightly spacey electric slide show up here and there, adding a dreaminess, while “RoundRound” features echoed ukulele and claps behind layered multitracked vocals from the pair, sounding like it’s being beamed in from another era, or another plane. And “Hallelujah” (an original, not the Leonard Cohen standard) ends the set with a melancholy pair of trumpets — Gabriel (and a friend) not calling the end of the world, but just the end of a nice, loving day.\u003c/p>\n\u003cp>\u003cb>The Side Eyes/Redd Kross, 'Songs that Chargo Taught Us' split single\u003c/b>\u003c/p>\n\u003cp>Remember the good ol’ days when rock and punk were about rejecting your parents’ ways, ideally really ticking them off in the process? Well, kids today ...\u003c/p>\n\u003cp>Take 21-year-old Astrid McDonald, singer in the L.A. punkish band the Side Eyes. Not only isn’t she railing against her mom, but on the band’s new vinyl-only single she sings a song written \u003ci>by\u003c/i> her mom. Well, her mom happens to be Charlotte Caffey of the Go-Go’s. And the song the Side Eyes does here, “Don’t Talk to Me,” dates from when mom was around the age her daughter is now, back in the late '70s when Caffey fronted a pre-Go-Go’s trio with drummer D.J. Bonebrake (soon of X) and guitarist Joe Ramirez (Black Randy & the Metro Squad). The name of that band? The Eyes. Yeah, even young McDonald’s band’s name pays homage to \u003ci>mater\u003c/i>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOct84ix7aA\u003c/p>\n\u003cp>What’s more, the other side of the single is by the veteran L.A. power-punk band Redd Kross, which as you may have already realized features McDonald’s \u003ci>dad,\u003c/i> Jeff McDonald, as well as her uncle, Steven. And what’s \u003ci>more\u003c/i> more, the song they do is also an old Caffey composition, “Screaming,” a rare one from the very earliest days of the Go-Go’s, notable for the stinging guitar and brusque energy that came to mark Caffey’s famous band’s best work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Together the songs are presented as “Songs that Chargo Taught Us,” “Chargo” being Caffey’s nickname. Both are sharp, spirited performances, given more meaning for being a deeply loving appreciation to McDonald’s mom and spouse, respectively. It’s wonderful. But seriously, is this any way to have youthful rebellion?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A bright new album released on cassette, another \u003cem>recorded\u003c/em> on cassette and a daughter paying lovingly energetic tribute to her mom's punk youth. But don't dismiss these three summer picks as wistful nostalgia.\u003c/p>\n\u003cp>\u003cb>Yea-Ming and the Rumours, 'I Will Make You Mine'\u003c/b>\u003c/p>\n\u003cp>The songs on \u003ca href=\"https://yea-ming.bandcamp.com/\" target=\"_blank\">Yea-Ming and the Rumours\u003c/a>’ debut album, “I Will Make You Mine,” are some of the sweetest, sunniest '60s-evoking folk-pop you’ll hear — except for the dark, even menacing bits that unexpectedly peek out of shadows that you might not even have noticed. “Gunshots ring out on the street,” the Bay Area native Yea-Ming Chen sings in the middle of the otherwise bubbly opener, “Where Did Our Moment Go,” a little pathetic fallacy of the lost moment.\u003c/p>\n\u003cp>“Don’t Be Mean” holds some anxious fear in its rebuke. “When You Were Young” isn’t so much nostalgic as disillusioned. And in that context, it’s hard to see the determination of the title song — the bounciest, bubbliest of the bunch — as not having an element of threat, even before you hear the lyrics describe post-one-night-stand obsession.\u003c/p>\n\u003cp>Somehow it’s perfect that this is only available, at first at least, in formats old (cassette, via Burger Records) and digital (via Bandcamp), wittingly or otherwise representing the mix of past sounds and current attitudes. But don’t mistake the latter for cynicism or snark, or even irony. It’s observation and reflection, recognition that conflicting ideas and emotions coexist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vf7LZifk014'\n title='//www.youtube.com/embed/vf7LZifk014'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Same, to some extent, in the music. Chen, bassist Anna Hillburg and drummer Sonia Hayden all come from the indie band Dreamdate, as does the basic sound, with new member Eoin Galvin Overall adding guitars (including some subtle slide work). It’s the We Five’s sparkle dabbed with the Velvet Underground’s grime, maybe. And at times it veers into countryesque lilt, accenting the heartache in some songs — but also accenting the hopefulness. Hopeful heartache. That’s the (hopeful?) heart of Yea-Ming and the Rumours.\u003c/p>\n\u003cp>\u003cb>Venus and the Moon, 'Brother, Son'\u003c/b>\u003c/p>\n\u003cp>If you simply heard there was a singer named Rain Phoenix, without knowing the back story of her life as an actress and sister of Joaquin (and the late River), you’d probably imagine her making music exactly as is heard on this debut from \u003ca href=\"http://www.venusandthemoon.net/\" target=\"_blank\">Venus and the Moon\u003c/a>, her Los Angeles-based duo with singer Frally Hynes.\u003c/p>\n\u003cp>Everything from the low-key, intimate sound (they call it “galactic country”) to the album title “Brother, Son” (the songs honor the important males in their lives, past and present), to the spare sound of the performances recorded on a 4-track cassette (given to Rain by River when she was a teen) to the black-and-white cover photo of two Earth-priest figures standing against a rock outcropping says \"neo-hippie nature-children.\"\u003c/p>\n\u003cp>Well, that’s not a bad thing. Not at all. The giddy joy of “Marry Me” (“Marry me to the song of the wind,” they harmonize over briskly strummed acoustic guitar) is all smiles. “Die Slow” is more ruminative, but with a genteel fragility held together with hope. “Paper Cup” (the song in which the album title is heard) is a sweet lullaby for a childhood gone, but not lost, a perfect mix of sadness and hope (“there was a time you loved yourself,” “everyone knows we’re not on our own out here”).\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/RgGWCryY8RU'\n title='//www.youtube.com/embed/RgGWCryY8RU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s something of a contrast from the more forward approach of Phoenix’s prior band, Papercranes, and of a much-more-produced 2015 Venus 7-inch single release featuring appearances by Rufus Wainwright and Chris Stills (Stephen’s son). But there’s a closeness to this that’s far more personal and affecting.\u003c/p>\n\u003cp>Touches of slightly spacey electric slide show up here and there, adding a dreaminess, while “RoundRound” features echoed ukulele and claps behind layered multitracked vocals from the pair, sounding like it’s being beamed in from another era, or another plane. And “Hallelujah” (an original, not the Leonard Cohen standard) ends the set with a melancholy pair of trumpets — Gabriel (and a friend) not calling the end of the world, but just the end of a nice, loving day.\u003c/p>\n\u003cp>\u003cb>The Side Eyes/Redd Kross, 'Songs that Chargo Taught Us' split single\u003c/b>\u003c/p>\n\u003cp>Remember the good ol’ days when rock and punk were about rejecting your parents’ ways, ideally really ticking them off in the process? Well, kids today ...\u003c/p>\n\u003cp>Take 21-year-old Astrid McDonald, singer in the L.A. punkish band the Side Eyes. Not only isn’t she railing against her mom, but on the band’s new vinyl-only single she sings a song written \u003ci>by\u003c/i> her mom. Well, her mom happens to be Charlotte Caffey of the Go-Go’s. And the song the Side Eyes does here, “Don’t Talk to Me,” dates from when mom was around the age her daughter is now, back in the late '70s when Caffey fronted a pre-Go-Go’s trio with drummer D.J. Bonebrake (soon of X) and guitarist Joe Ramirez (Black Randy & the Metro Squad). The name of that band? The Eyes. Yeah, even young McDonald’s band’s name pays homage to \u003ci>mater\u003c/i>.\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/FOct84ix7aA'\n title='//www.youtube.com/embed/FOct84ix7aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’s more, the other side of the single is by the veteran L.A. power-punk band Redd Kross, which as you may have already realized features McDonald’s \u003ci>dad,\u003c/i> Jeff McDonald, as well as her uncle, Steven. 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"title": "Court Order Sharply Narrows Prince's Potential Heirs",
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"content": "\u003cp>A Minnesota judge overseeing Prince’s estate narrowed down the wide pool of potential heirs for the late superstar’s fortune on Friday, ruling out nearly 30 claimants while ordering genetic testing for six purported family members.\u003c/p>\n\u003cp>Carver County Judge Kevin Eide’s order requires genetic testing for Prince’s sister, Tyka Nelson, plus three half-siblings: Sharon Nelson, Norrine Nelson and John Nelson. Ken Abdo, the attorney for the three half-siblings declined to comment. Tyka Nelson’s attorney did not immediately return a voicemail.\u003c/p>\n\u003cp>Eide also ordered testing for Brianna Nelson, who has claimed to be Prince’s niece, and possible grand-niece Victoria Nelson. The pair has claimed Briana Nelson’s father was Prince’s half-brother. Their attorney, Andrew Stoltman, declined to comment.\u003c/p>\n\u003cp>It’s unclear why the judge did not order testing for Omar Baker or Alfred Jackson, two men who were listed as half-brothers in the original petition for the court to name a special administrator to the estate, but Eide’s order includes a note that the court “is not aware of any objection or dispute” that all six siblings or half-siblings are legitimate heirs.\u003c/p>\n\u003cp>Jackson’s attorney, Justin Bruntjen, declined to comment. An attorney for Baker could not be immediately reached.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince died April 21 of a drug overdose. The process of determining his heirs and parceling out his estate has fallen to the courts because he had no known children and left no will. A DNA test has already ruled out a Colorado prison inmate who claimed to be Prince’s son.\u003c/p>\n\u003cp>Barring any others who could come forward claiming ties, Eide’s order drastically limits who may benefit from Prince’s fortunes — an estimated $300 million or more — or gain control of his legacy.\u003c/p>\n\u003cp>Among those excluded from potential heirship in Eide’s order are five unidentified people with shaky claims that Prince was their biological father. For example, one woman who said she was adopted claimed Prince was her father because “based upon the general description of the lifestyle of her biological parents, her fascination with the Decedent and physical similarities.”\u003c/p>\n\u003cp>The order also tosses out a handful of claimants who alleged that Prince’s father was someone other than John L. Nelson, who is listed in court records as Prince’s father.\u003c/p>\n\u003cp>Among those claimants was Venita Jackson Leverette, whose attorney, James Selmer, called Eide’s decision “a travesty” and said he’s considering an appeal. Selmer opined that his client would be banned from undergoing testing while a man serving an eight-year prison sentence in Colorado was given a DNA test.\u003c/p>\n\u003cp>“The better course would be to allow people that have a plausible connection to him to have a blood test,” he said.\u003c/p>\n\u003cp>The four Prince siblings or half-siblings ordered to undergo genetic testing all claim John L. Nelson as their father. Susan Link, head of estate planning for Minneapolis-based Maslon, said the judge may have ordered them tested because of the claimants who said John L. Nelson wasn’t actually Prince’s father — even though he threw out those claims.\u003c/p>\n\u003cp>The two that don’t need to be tested — Baker and Jackson — claim relation to Prince through a common mother, Mattie Shaw, but different fathers.\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 Minnesota judge overseeing Prince’s estate narrowed down the wide pool of potential heirs for the late superstar’s fortune on Friday, ruling out nearly 30 claimants while ordering genetic testing for six purported family members.\u003c/p>\n\u003cp>Carver County Judge Kevin Eide’s order requires genetic testing for Prince’s sister, Tyka Nelson, plus three half-siblings: Sharon Nelson, Norrine Nelson and John Nelson. Ken Abdo, the attorney for the three half-siblings declined to comment. Tyka Nelson’s attorney did not immediately return a voicemail.\u003c/p>\n\u003cp>Eide also ordered testing for Brianna Nelson, who has claimed to be Prince’s niece, and possible grand-niece Victoria Nelson. The pair has claimed Briana Nelson’s father was Prince’s half-brother. Their attorney, Andrew Stoltman, declined to comment.\u003c/p>\n\u003cp>It’s unclear why the judge did not order testing for Omar Baker or Alfred Jackson, two men who were listed as half-brothers in the original petition for the court to name a special administrator to the estate, but Eide’s order includes a note that the court “is not aware of any objection or dispute” that all six siblings or half-siblings are legitimate heirs.\u003c/p>\n\u003cp>Jackson’s attorney, Justin Bruntjen, declined to comment. An attorney for Baker could not be immediately reached.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince died April 21 of a drug overdose. The process of determining his heirs and parceling out his estate has fallen to the courts because he had no known children and left no will. A DNA test has already ruled out a Colorado prison inmate who claimed to be Prince’s son.\u003c/p>\n\u003cp>Barring any others who could come forward claiming ties, Eide’s order drastically limits who may benefit from Prince’s fortunes — an estimated $300 million or more — or gain control of his legacy.\u003c/p>\n\u003cp>Among those excluded from potential heirship in Eide’s order are five unidentified people with shaky claims that Prince was their biological father. For example, one woman who said she was adopted claimed Prince was her father because “based upon the general description of the lifestyle of her biological parents, her fascination with the Decedent and physical similarities.”\u003c/p>\n\u003cp>The order also tosses out a handful of claimants who alleged that Prince’s father was someone other than John L. Nelson, who is listed in court records as Prince’s father.\u003c/p>\n\u003cp>Among those claimants was Venita Jackson Leverette, whose attorney, James Selmer, called Eide’s decision “a travesty” and said he’s considering an appeal. Selmer opined that his client would be banned from undergoing testing while a man serving an eight-year prison sentence in Colorado was given a DNA test.\u003c/p>\n\u003cp>“The better course would be to allow people that have a plausible connection to him to have a blood test,” he said.\u003c/p>\n\u003cp>The four Prince siblings or half-siblings ordered to undergo genetic testing all claim John L. Nelson as their father. Susan Link, head of estate planning for Minneapolis-based Maslon, said the judge may have ordered them tested because of the claimants who said John L. Nelson wasn’t actually Prince’s father — even though he threw out those claims.\u003c/p>\n\u003cp>The two that don’t need to be tested — Baker and Jackson — claim relation to Prince through a common mother, Mattie Shaw, but different fathers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the senior cast members of \u003ci>Sesame Street\u003c/i> who was recently cut from the beloved kids’ television series announced on social media Friday that the show’s producers are looking into bringing him and two other actors back.\u003c/p>\n\u003cp>[contextly_sidebar id=”0ukpjWKtaI6oGphK7V6uvw0r6RN9535R”]\u003c/p>\n\u003cp>Roscoe Orman, who has played the character Gordon on the show since 1974, made the announcement on Facebook, which was shared by fellow cast member Emilio Delgado (who played Luis):\u003c/p>\n\u003cp>https://www.facebook.com/emilio.delgado.5851/posts/10206628612698115\u003c/p>\n\u003cp>Sesame Workshop, which produces \u003ci>Sesame Street,\u003c/i> reached out to Orman, Delgado and original cast member Bob McGrath (who played the role of Bob) after \u003ca href=\"http://muppetcast.com/news/sesame-street-releases-bob-mcgrath/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Muppetcast\u003c/em>\u003c/a> reported Wednesday that they had been \u003ca href=\"http://ww2.kqed.org/arts/2016/07/27/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis/\" target=\"_blank\" rel=\"noopener\">released from their contracts earlier this year\u003c/a>. The story lead to an outcry from thousands of longtime viewers, resulting in this statement being released by Sesame Workshop Thursday:\u003c/p>\n\u003cblockquote>\u003cp>Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of \u003cem>Sesame Street\u003c/em>. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>Many critics blamed Sesame Workshop’s deal with HBO for cutting the veteran members, as it coincided with a \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener\">major re-tooling of the show\u003c/a>. As a result of the deal, the show was shortened from an hour to 30 minutes, and its content started to focus on teaching more socially-applicable skills to children such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow this story as it will be updated as KQED learns more details.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the senior cast members of \u003ci>Sesame Street\u003c/i> who was recently cut from the beloved kids’ television series announced on social media Friday that the show’s producers are looking into bringing him and two other actors back.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Roscoe Orman, who has played the character Gordon on the show since 1974, made the announcement on Facebook, which was shared by fellow cast member Emilio Delgado (who played Luis):\u003c/p>\n\u003cp>https://www.facebook.com/emilio.delgado.5851/posts/10206628612698115\u003c/p>\n\u003cp>Sesame Workshop, which produces \u003ci>Sesame Street,\u003c/i> reached out to Orman, Delgado and original cast member Bob McGrath (who played the role of Bob) after \u003ca href=\"http://muppetcast.com/news/sesame-street-releases-bob-mcgrath/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Muppetcast\u003c/em>\u003c/a> reported Wednesday that they had been \u003ca href=\"http://ww2.kqed.org/arts/2016/07/27/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis/\" target=\"_blank\" rel=\"noopener\">released from their contracts earlier this year\u003c/a>. The story lead to an outcry from thousands of longtime viewers, resulting in this statement being released by Sesame Workshop Thursday:\u003c/p>\n\u003cblockquote>\u003cp>Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of \u003cem>Sesame Street\u003c/em>. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>Many critics blamed Sesame Workshop’s deal with HBO for cutting the veteran members, as it coincided with a \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener\">major re-tooling of the show\u003c/a>. As a result of the deal, the show was shortened from an hour to 30 minutes, and its content started to focus on teaching more socially-applicable skills to children such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sandy Pearlman, a pioneering rock critic who later produced and managed Blue Oyster Cult and worked with The Clash, Patti Smith and other punk artists, has died.\u003c/p>\n\u003cp>Longtime friend Robert Duncan said Pearlman died Tuesday in Novato Community Hospital in Novato, Calif. He was 72 and had been in poor health since suffering a cerebral hemorrhage last year. Duncan said Pearlman had no immediate survivors.\u003c/p>\n\u003cp>A New York City native and a graduate of State University of New York at Stony Brook, Pearlman wrote for one of the first rock magazines, \u003cem>Crawdaddy\u003c/em>, in the 1960s and through Stony Brook met the musicians who became Blue Oyster Cult. (Originally called Soft White Underbelly). He booked early shows for the five-man group, arranged a meeting with then-Columbia Records executive Clive Davis that led to a record deal and produced several of their albums. Blue Oyster Cult sold millions of records and Pearlman was among the producers of the band’s classic hit “(Don’t Fear) the Reaper.”\u003c/p>\n\u003cp>He also worked with a variety of punk and heavy metal acts, from Smith and Black Sabbath to the Dictators and Romeo Void, and in 1978 produced one of punk’s most influential albums, the Clash’s \u003cem>Give ‘Em Enough Rope\u003c/em>.\u003c/p>\n\u003cp>More recently, he was a tour promoter, head of the alternative label 415 Records and a member of the Library of Congress’ preservation board. He was also an executive with one of the first companies to sell music online, eMusic.com, and taught music at McGill University in Montreal. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After news of his passing spread, friends of Pearlman such as photographer Hugh Brown shared stories on social media.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10153774517428873&set=a.313476963872.144857.608898872\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kevin L. Jones contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sandy Pearlman, a pioneering rock critic who later produced and managed Blue Oyster Cult and worked with The Clash, Patti Smith and other punk artists, has died.\u003c/p>\n\u003cp>Longtime friend Robert Duncan said Pearlman died Tuesday in Novato Community Hospital in Novato, Calif. He was 72 and had been in poor health since suffering a cerebral hemorrhage last year. Duncan said Pearlman had no immediate survivors.\u003c/p>\n\u003cp>A New York City native and a graduate of State University of New York at Stony Brook, Pearlman wrote for one of the first rock magazines, \u003cem>Crawdaddy\u003c/em>, in the 1960s and through Stony Brook met the musicians who became Blue Oyster Cult. (Originally called Soft White Underbelly). He booked early shows for the five-man group, arranged a meeting with then-Columbia Records executive Clive Davis that led to a record deal and produced several of their albums. Blue Oyster Cult sold millions of records and Pearlman was among the producers of the band’s classic hit “(Don’t Fear) the Reaper.”\u003c/p>\n\u003cp>He also worked with a variety of punk and heavy metal acts, from Smith and Black Sabbath to the Dictators and Romeo Void, and in 1978 produced one of punk’s most influential albums, the Clash’s \u003cem>Give ‘Em Enough Rope\u003c/em>.\u003c/p>\n\u003cp>More recently, he was a tour promoter, head of the alternative label 415 Records and a member of the Library of Congress’ preservation board. He was also an executive with one of the first companies to sell music online, eMusic.com, and taught music at McGill University in Montreal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Jose's Chidori Band Connects, Uplifts Japanese-American Community",
"headTitle": "San Jose’s Chidori Band Connects, Uplifts Japanese-American Community | KQED",
"content": "\u003cp>For many Japanese-Americans, Obon festivals are the highlight of summer. The Shin Buddhist tradition is similar to Day of the Dead; people remember their ancestors but also celebrate life with food, dance and music, the last of which resonates deeply in San Jose.\u003c/p>\n\u003cp>“Now we have a group that’s been performing at this Obon festival for more than six decades,” announced the MC of the annual event, held in the city’s Japantown earlier this month. “From San Jose, they practice just down the street. Here is the Chidori Band!”\u003c/p>\n\u003cp>The group of nearly two dozen musicians and singers began to play on a closed street in front of a Buddhist church, under strands of colorful lanterns and streamers. Between bouncing through game booths and food stalls, many festival-goers, some dressed in brightly patterned kimonos and yukatas, stopped to listen.\u003c/p>\n\u003cfigure id=\"attachment_11872134\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We primarily play enka, which is Japanese folk music that sounds similar to country music,” says Michael Yoshihara, the Chidori Band’s director and saxophone player. “We have original, classic and contemporary Japanese songs, jazz and J-pop, and we definitely do Obon music.”\u003c/p>\n\u003cp>All summer long, the group headlines Obon festivals across the state, from Lodi to Los Angeles. The events are their speciality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275999879″ 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>“Obon is a celebration of your roots or of those who have passed on before you,” Yoshihara says. “It’s a time to get back to your family roots.”\u003c/p>\n\u003cp>He adds that the group’s music also helps connect people back to those roots. Practically everyone and their grandmother knows of the Chidori Band if you’re a Japanese-American from California; the band has had a lot of time to build up a loyal audience, having formed in 1953. It was a difficult time for many Japanese-Americans, who were reestablishing their lives after the federal government forced them into internment camps during World War II.\u003c/p>\n\u003cfigure id=\"attachment_11872650\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg\" alt=\"The Chidori Band, seen here in the 1950s.\" width=\"1100\" height=\"682\" class=\"size-full wp-image-11872650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-960x595.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band, seen here in the 1950s.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in these camps where the San Jose Chidori Band and other similar bands took root. People had joined together in musical groups during their isolation. \u003c/p>\n\u003cp>When the war ended, many Japanese-Americans came back destitute and demoralized. But community leaders across the state saw music as a way to bring people together and preserve their culture, and asked those who had sung or played instruments in internment camps to create new bands.\u003c/p>\n\u003cp>“I sang in camp, and they approached us and said, ‘This is what we’re thinking,’” says Masayo Arii, 89, from Cupertino — one of the Chidori Band’s original singers. Though groups were formed all over the state, “we’re the only one left now,” she says. “San Francisco, San Mateo, Sacramento, Fresno — they all had bands, and San Francisco had a very good band, but they didn’t last.”\u003c/p>\n\u003cfigure id=\"attachment_11872136\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg\" alt=\"Chidori Band director Michael Yoshihara rehearses in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Chidori Band director Michael Yoshihara rehearses in San Jose’s Japantown before a series of performances at Obon festivals in different cities.\u003cbr> \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcia Hashimoto, 69, grew up listening to many of those groups, and still goes to see the Chidori Band. At her home in Watsonville, she still owns and listens to the band’d CDs, which bring back “wonderful memories of my childhood,” she says. \u003c/p>\n\u003cp>Her family would drive to see the band’s performances, which were usually packed. “It was just so wonderful to hear the quality of music,” she says. “It just made you feel so happy, that life was beginning to get back to normalcy, and these were the good times now.”\u003c/p>\n\u003cfigure id=\"attachment_11872137\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg\" alt=\"Yoko Inada, right, practices with the Chidori Band in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"735\" class=\"size-full wp-image-11872137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Yoko Inada, right, practices with the Chidori Band in San Jose’s Japantown before a series of performances at Obon festivals in different cities. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the music isn’t just about nostalgia. At 25 years old, Emily Kawaguchi is one of the youngest members of the Chidori Band. She says she wants to carry the group into the future.\u003c/p>\n\u003cp>“Being a younger musician, I think there is a little bit of responsibility on the younger generation to continue and to share that kind of Japanese music with others,” she says.\u003c/p>\n\u003cp>And she’s not the only one. A 17-year-old joined this year, and the Chidori Band hopes to bring in even more young people to keep the music alive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chidori Band performs Saturday, Aug. 6 at 6:20pm at the \u003ca href=\"http://www.buddhistchurchofoakland.org/\" target=\"_blank\" rel=\"noopener\">Buddhist Church of Oakland Obon Festival\u003c/a>, and on Saturday, Aug. 13 at 6pm at \u003ca href=\"http://sacbc.org/wp/\" target=\"_blank\" rel=\"noopener\">Southern Alameda County Buddhist Church-Union City Obon Festival\u003c/a>. For details and more information, see the \u003ca href=\"http://chidoriband.com/wp/\" target=\"_blank\" rel=\"noopener\">Chidori Band’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Formed after the U.S. placed Japanese-Americans in WWII internment camps, the Chidori Band plays a music of tradition and freedom.",
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"description": "Formed after the U.S. placed Japanese-Americans in WWII internment camps, the Chidori Band plays a music of tradition and freedom.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many Japanese-Americans, Obon festivals are the highlight of summer. The Shin Buddhist tradition is similar to Day of the Dead; people remember their ancestors but also celebrate life with food, dance and music, the last of which resonates deeply in San Jose.\u003c/p>\n\u003cp>“Now we have a group that’s been performing at this Obon festival for more than six decades,” announced the MC of the annual event, held in the city’s Japantown earlier this month. “From San Jose, they practice just down the street. Here is the Chidori Band!”\u003c/p>\n\u003cp>The group of nearly two dozen musicians and singers began to play on a closed street in front of a Buddhist church, under strands of colorful lanterns and streamers. Between bouncing through game booths and food stalls, many festival-goers, some dressed in brightly patterned kimonos and yukatas, stopped to listen.\u003c/p>\n\u003cfigure id=\"attachment_11872134\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We primarily play enka, which is Japanese folk music that sounds similar to country music,” says Michael Yoshihara, the Chidori Band’s director and saxophone player. “We have original, classic and contemporary Japanese songs, jazz and J-pop, and we definitely do Obon music.”\u003c/p>\n\u003cp>All summer long, the group headlines Obon festivals across the state, from Lodi to Los Angeles. The events are their speciality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/275999879″&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/275999879″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Obon is a celebration of your roots or of those who have passed on before you,” Yoshihara says. “It’s a time to get back to your family roots.”\u003c/p>\n\u003cp>He adds that the group’s music also helps connect people back to those roots. Practically everyone and their grandmother knows of the Chidori Band if you’re a Japanese-American from California; the band has had a lot of time to build up a loyal audience, having formed in 1953. It was a difficult time for many Japanese-Americans, who were reestablishing their lives after the federal government forced them into internment camps during World War II.\u003c/p>\n\u003cfigure id=\"attachment_11872650\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg\" alt=\"The Chidori Band, seen here in the 1950s.\" width=\"1100\" height=\"682\" class=\"size-full wp-image-11872650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-960x595.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band, seen here in the 1950s.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in these camps where the San Jose Chidori Band and other similar bands took root. People had joined together in musical groups during their isolation. \u003c/p>\n\u003cp>When the war ended, many Japanese-Americans came back destitute and demoralized. But community leaders across the state saw music as a way to bring people together and preserve their culture, and asked those who had sung or played instruments in internment camps to create new bands.\u003c/p>\n\u003cp>“I sang in camp, and they approached us and said, ‘This is what we’re thinking,’” says Masayo Arii, 89, from Cupertino — one of the Chidori Band’s original singers. Though groups were formed all over the state, “we’re the only one left now,” she says. “San Francisco, San Mateo, Sacramento, Fresno — they all had bands, and San Francisco had a very good band, but they didn’t last.”\u003c/p>\n\u003cfigure id=\"attachment_11872136\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg\" alt=\"Chidori Band director Michael Yoshihara rehearses in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Chidori Band director Michael Yoshihara rehearses in San Jose’s Japantown before a series of performances at Obon festivals in different cities.\u003cbr> \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcia Hashimoto, 69, grew up listening to many of those groups, and still goes to see the Chidori Band. At her home in Watsonville, she still owns and listens to the band’d CDs, which bring back “wonderful memories of my childhood,” she says. \u003c/p>\n\u003cp>Her family would drive to see the band’s performances, which were usually packed. “It was just so wonderful to hear the quality of music,” she says. “It just made you feel so happy, that life was beginning to get back to normalcy, and these were the good times now.”\u003c/p>\n\u003cfigure id=\"attachment_11872137\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg\" alt=\"Yoko Inada, right, practices with the Chidori Band in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"735\" class=\"size-full wp-image-11872137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Yoko Inada, right, practices with the Chidori Band in San Jose’s Japantown before a series of performances at Obon festivals in different cities. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the music isn’t just about nostalgia. At 25 years old, Emily Kawaguchi is one of the youngest members of the Chidori Band. She says she wants to carry the group into the future.\u003c/p>\n\u003cp>“Being a younger musician, I think there is a little bit of responsibility on the younger generation to continue and to share that kind of Japanese music with others,” she says.\u003c/p>\n\u003cp>And she’s not the only one. A 17-year-old joined this year, and the Chidori Band hopes to bring in even more young people to keep the music alive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chidori Band performs Saturday, Aug. 6 at 6:20pm at the \u003ca href=\"http://www.buddhistchurchofoakland.org/\" target=\"_blank\" rel=\"noopener\">Buddhist Church of Oakland Obon Festival\u003c/a>, and on Saturday, Aug. 13 at 6pm at \u003ca href=\"http://sacbc.org/wp/\" target=\"_blank\" rel=\"noopener\">Southern Alameda County Buddhist Church-Union City Obon Festival\u003c/a>. For details and more information, see the \u003ca href=\"http://chidoriband.com/wp/\" target=\"_blank\" rel=\"noopener\">Chidori Band’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 3
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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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": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
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"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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"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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"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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"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",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"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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"here-and-now": {
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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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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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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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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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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/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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/",
"meta": {
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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?",
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