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"content": "\u003cp>Turn on the disco balls and sing a hopeful round of \"I Will Survive.\" Today, a group of drag queens, DJs and other fans of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/20/stud-generations-san-franciscans-gone-let-freak-flag-fly/\">The Stud\u003c/a>, a 50-year-old gay bar in San Francisco's South of Market neighborhood, announced it has secured funds to buy the bar as a co-op and save it from closure.\u003c/p>\n\u003cp>\"I'm feeling pretty stoked,\" says co-op spokesperson Mica Sigourney, whose drag performer name is VivvyAnne Forevermore. \"We've been working really hard on coming together and formulating a plan, and we have one.\"\u003c/p>\n\u003cp>The 15-member Stud Collective formed this summer after the building's landlords announced they would triple the bar's rent beginning Sept. 1.\u003c/p>\n\u003cp>https://twitter.com/JaneKim/status/761304825522888706\u003c/p>\n\u003cp>It was devastating news to the bar's current owner, Michael McElhaney, who was already planning a move home to Hawaii to take care of his elderly mother. McElhaney called an emergency gathering of friends and employees. He tearfully told them their beloved bar would probably close unless someone stepped in to save it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now that the co-op has shown that it can handle the increased rent -- $9,000 a month -- McElhaney says he will transfer his ownership of the bar to its members.\u003c/p>\n\u003cp>\"If these awesome folks can't make it work, no one can,\" he says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EWN4dHLtwYhogKoOHf6qmY11iJaTp54m\"]\u003c/p>\n\u003cp>There are still some loose ends to tie up. The Stud community is working with San Francisco Supervisor Jane Kim and the Mayor's Office of Economic and Workforce Development to establish the bar as an official \"legacy\" business, which ensures special protections.\u003c/p>\n\u003cp>Most importantly, the landlords need to be on board. Sigourney is confident they will be, but he's not quite ready to crack the champagne.\u003c/p>\n\u003cp>\"There will be a party,\" he assures, \"when we sign a lease.\"\u003c/p>\n\u003cp>Then again, it's \u003cem>always\u003c/em> a party at The Stud. \"Celebrate (it) as it is now,\" Sigourney says. \"That's actually one of the most important things that people can do.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/07/06/lgbtq-artists-in-the-bay-area-reflect-on-safe-queer-spaces/\" target=\"_blank\">Check out \u003c/a>KQED Arts’ video about LGBT artists reflecting on safe spaces in the Bay Area.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In the face of a drastic rent increase, a co-op comprised of drag queens, DJs and other fans of the San Francisco gay bar has secured funds to buy the historic LGBT space.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Turn on the disco balls and sing a hopeful round of \"I Will Survive.\" Today, a group of drag queens, DJs and other fans of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/20/stud-generations-san-franciscans-gone-let-freak-flag-fly/\">The Stud\u003c/a>, a 50-year-old gay bar in San Francisco's South of Market neighborhood, announced it has secured funds to buy the bar as a co-op and save it from closure.\u003c/p>\n\u003cp>\"I'm feeling pretty stoked,\" says co-op spokesperson Mica Sigourney, whose drag performer name is VivvyAnne Forevermore. \"We've been working really hard on coming together and formulating a plan, and we have one.\"\u003c/p>\n\u003cp>The 15-member Stud Collective formed this summer after the building's landlords announced they would triple the bar's rent beginning Sept. 1.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was devastating news to the bar's current owner, Michael McElhaney, who was already planning a move home to Hawaii to take care of his elderly mother. McElhaney called an emergency gathering of friends and employees. He tearfully told them their beloved bar would probably close unless someone stepped in to save it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that the co-op has shown that it can handle the increased rent -- $9,000 a month -- McElhaney says he will transfer his ownership of the bar to its members.\u003c/p>\n\u003cp>\"If these awesome folks can't make it work, no one can,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are still some loose ends to tie up. The Stud community is working with San Francisco Supervisor Jane Kim and the Mayor's Office of Economic and Workforce Development to establish the bar as an official \"legacy\" business, which ensures special protections.\u003c/p>\n\u003cp>Most importantly, the landlords need to be on board. Sigourney is confident they will be, but he's not quite ready to crack the champagne.\u003c/p>\n\u003cp>\"There will be a party,\" he assures, \"when we sign a lease.\"\u003c/p>\n\u003cp>Then again, it's \u003cem>always\u003c/em> a party at The Stud. \"Celebrate (it) as it is now,\" Sigourney says. \"That's actually one of the most important things that people can do.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/07/06/lgbtq-artists-in-the-bay-area-reflect-on-safe-queer-spaces/\" target=\"_blank\">Check out \u003c/a>KQED Arts’ video about LGBT artists reflecting on safe spaces in the Bay Area.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Two Not-Sold-Out Music Fests, a Gender-Fluid Rocker, and Queens of Camp",
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"headTitle": "Cy and David’s Picks: Two Not-Sold-Out Music Fests, a Gender-Fluid Rocker, and Queens of Camp | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://soundcloud.com/kqed/the-do-list-august-5th-2016\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Aug. 5:\u003c/strong> We’re highlighting the little \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a> (Aug. 5) over \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> (Aug. 5-7) for three reasons: Petaluma is just $45 bucks for a day (profits all go to Petaluma schools), with music by Sacramento native \u003ca href=\"http://www.jackiegreene.com\" target=\"_blank\" rel=\"noopener\">Jackie Greene\u003c/a>, The Motherhips, Moonalice, \u003ca href=\"http://www.moetar.com/\" target=\"_blank\" rel=\"noopener\">Moetar\u003c/a> (great band), and other jambands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=olg2Wh0k9oI\u003c/p>\n\u003cp>Outside Lands (Radiohead, Lionel Richie) is $145/day. Petaluma expects barely four thousand at their home at the Sonoma/Marin Fairgrounds. Figure 55 thousand a day at Outside Lands. And finally, Outside Lands is sold out. Details on the Petaluma Music Festival are \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And BTW, we have an Outside Lands preview from our own \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\" rel=\"noopener\">Emma Silvers here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11890032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg\" alt=\"Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody/People of Interest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13\u003c/strong>: \u003ca href=\"http://www.peopleofinterest.org/campo-maldito.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito \u003c/em>\u003c/a>is a play, created by the San Diego theater company \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">People of Interest\u003c/a>, about ghosts and gentrification. It was a hit at the New York and San Francisco Fringe Festivals a few years ago, and is just as timely now. A tech startup moves into San Francisco’s Tenderloin, and the white entrepreneur hires a Santeria priest to purify the office with scary results. The well-told moral may be don’t displace the living or piss of the dead. The producers are offering free tickets to neighborhood residents. Details for the run at San Francisco’s \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> are \u003ca href=\"http://www.brownpapertickets.com/event/2559855\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-SlId-8Noh8\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>It will hard to imagine the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> without \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>. This champion of women as conductors and composers is exiting after 25 years as artistic director and conductor at the festival, leaving a brilliant legacy of newly commissioned music. The video above is for a new symphonic ballet by \u003ca href=\"http://www.annaclyne.com/\" target=\"_blank\" rel=\"noopener\">Anna Clyne \u003c/a>preming at the festival. And over the years, Alsop has welcomed Berkeley’s \u003ca href=\"http://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> (composing a new work this year dedicated to Alsop), the Peninsula’s \u003ca href=\"http://www.masonbates.com\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, John Corigliano, Jennifer Higdon and many others. Don’t miss your chance to see Alsop’s swan song. (Wouldn’t it be nice if the San Francisco Symphony brings her back to the Bay Area as a guest conductor once in a while. Imagine her taking over for MTT when he eventually retires). Details for Cabrillo are \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o9OY_-PHMTs\u003c/p>\n\u003cp>\u003cstrong>Aug. 10-27\u003c/strong>: Here’s a stage musical that promises to be topless, tasteless and so much fun. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/04/its-still-ok-to-hate-em-showgirls-em/360644/\" target=\"_blank\" rel=\"noopener\">\u003cem>Showgirls\u003c/em>\u003c/a> was a really trashy and exploitative 1995 film, starring Gina Gershon and Elizabeth Berkeley, about Vegas showgirls, and what they’ll do (anything, apparently) to succeed. The movie has long been a favorite of drag queens, and now we’re getting the West Coast premiere of \u003cem>Showgirls the Musical\u003c/em>, co-starring \u003ca href=\"http://aprilkidwell.com/\" target=\"_blank\" rel=\"noopener\">April Kidwell \u003c/a>(repeating the role she originated in the New York production) and San Francisco drag queen \u003ca href=\"http://store.peacheschrist.com/\" target=\"_blank\" rel=\"noopener\">Peaches Christ \u003c/a>(Joshua Grannell), in the role of the older diva. “As drag queens and cult enthusiasts,” Christ/Grannell told me, “we saw the value in taking this film, and celebrating the absurdity, so that we take the misogyny and the sexism and put it in a drag context, and refuse to take this seriously. I don’t think this was the intention of the filmmakers at all.” This is a rare adults-only Do List item, and details for the run at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco are \u003ca href=\"http://www.showgirlsthemusical.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NDOenFQazrA\u003c/p>\n\u003cp>\u003cstrong>Aug. 10: \u003c/strong>\u003ca href=\"http://ezrafurman.com/\" target=\"_blank\" rel=\"noopener\">Ezra Furman\u003c/a> is another performer who looks good in pearls (see Peaches Christ above), He’s a gender non-conforming, smart (and smartass) conservative Jew who doesn’t play concerts on the Sabbath (Friday evening through Saturday at dusk). He’s also a terrific songwriter and singer with a knack for power pop melodic hooks, and a deep respect for rock and roll traditions from doo-wop to Bruce Springsteen to Little Richard. His new EP is about “the theme of the mind unmoored,” but Furman never seems to lose his artistic way. Details for his show at the Swedish American Hall in San Francisco Wednesday, are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/224/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IICw3txlrbs\u003c/p>\n\u003cp>\u003cstrong>Through Aug 6\u003c/strong>: For a couple of years now, we’ve been following San Francisco choreographer \u003ca href=\"http://www.postballet.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Robert Dekkers\u003c/a>‘ evolving dance opus about community and our place in the universe. Now he and his company \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a> are performing all the chapters together in a new staging that features food, mylar balloons, and live music performed by the Living Earth Project. Expect strange and brilliant\u003cem>. Details \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://soundcloud.com/kqed/the-do-list-august-5th-2016\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Aug. 5:\u003c/strong> We’re highlighting the little \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a> (Aug. 5) over \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> (Aug. 5-7) for three reasons: Petaluma is just $45 bucks for a day (profits all go to Petaluma schools), with music by Sacramento native \u003ca href=\"http://www.jackiegreene.com\" target=\"_blank\" rel=\"noopener\">Jackie Greene\u003c/a>, The Motherhips, Moonalice, \u003ca href=\"http://www.moetar.com/\" target=\"_blank\" rel=\"noopener\">Moetar\u003c/a> (great band), and other jambands.\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/olg2Wh0k9oI'\n title='//www.youtube.com/embed/olg2Wh0k9oI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Outside Lands (Radiohead, Lionel Richie) is $145/day. Petaluma expects barely four thousand at their home at the Sonoma/Marin Fairgrounds. Figure 55 thousand a day at Outside Lands. And finally, Outside Lands is sold out. Details on the Petaluma Music Festival are \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And BTW, we have an Outside Lands preview from our own \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\" rel=\"noopener\">Emma Silvers here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11890032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg\" alt=\"Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody/People of Interest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13\u003c/strong>: \u003ca href=\"http://www.peopleofinterest.org/campo-maldito.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito \u003c/em>\u003c/a>is a play, created by the San Diego theater company \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">People of Interest\u003c/a>, about ghosts and gentrification. It was a hit at the New York and San Francisco Fringe Festivals a few years ago, and is just as timely now. A tech startup moves into San Francisco’s Tenderloin, and the white entrepreneur hires a Santeria priest to purify the office with scary results. The well-told moral may be don’t displace the living or piss of the dead. The producers are offering free tickets to neighborhood residents. Details for the run at San Francisco’s \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> are \u003ca href=\"http://www.brownpapertickets.com/event/2559855\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \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/-SlId-8Noh8'\n title='//www.youtube.com/embed/-SlId-8Noh8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>It will hard to imagine the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> without \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>. This champion of women as conductors and composers is exiting after 25 years as artistic director and conductor at the festival, leaving a brilliant legacy of newly commissioned music. The video above is for a new symphonic ballet by \u003ca href=\"http://www.annaclyne.com/\" target=\"_blank\" rel=\"noopener\">Anna Clyne \u003c/a>preming at the festival. And over the years, Alsop has welcomed Berkeley’s \u003ca href=\"http://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> (composing a new work this year dedicated to Alsop), the Peninsula’s \u003ca href=\"http://www.masonbates.com\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, John Corigliano, Jennifer Higdon and many others. Don’t miss your chance to see Alsop’s swan song. (Wouldn’t it be nice if the San Francisco Symphony brings her back to the Bay Area as a guest conductor once in a while. Imagine her taking over for MTT when he eventually retires). Details for Cabrillo are \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o9OY_-PHMTs'\n title='//www.youtube.com/embed/o9OY_-PHMTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10-27\u003c/strong>: Here’s a stage musical that promises to be topless, tasteless and so much fun. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/04/its-still-ok-to-hate-em-showgirls-em/360644/\" target=\"_blank\" rel=\"noopener\">\u003cem>Showgirls\u003c/em>\u003c/a> was a really trashy and exploitative 1995 film, starring Gina Gershon and Elizabeth Berkeley, about Vegas showgirls, and what they’ll do (anything, apparently) to succeed. The movie has long been a favorite of drag queens, and now we’re getting the West Coast premiere of \u003cem>Showgirls the Musical\u003c/em>, co-starring \u003ca href=\"http://aprilkidwell.com/\" target=\"_blank\" rel=\"noopener\">April Kidwell \u003c/a>(repeating the role she originated in the New York production) and San Francisco drag queen \u003ca href=\"http://store.peacheschrist.com/\" target=\"_blank\" rel=\"noopener\">Peaches Christ \u003c/a>(Joshua Grannell), in the role of the older diva. “As drag queens and cult enthusiasts,” Christ/Grannell told me, “we saw the value in taking this film, and celebrating the absurdity, so that we take the misogyny and the sexism and put it in a drag context, and refuse to take this seriously. I don’t think this was the intention of the filmmakers at all.” This is a rare adults-only Do List item, and details for the run at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco are \u003ca href=\"http://www.showgirlsthemusical.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NDOenFQazrA'\n title='//www.youtube.com/embed/NDOenFQazrA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10: \u003c/strong>\u003ca href=\"http://ezrafurman.com/\" target=\"_blank\" rel=\"noopener\">Ezra Furman\u003c/a> is another performer who looks good in pearls (see Peaches Christ above), He’s a gender non-conforming, smart (and smartass) conservative Jew who doesn’t play concerts on the Sabbath (Friday evening through Saturday at dusk). He’s also a terrific songwriter and singer with a knack for power pop melodic hooks, and a deep respect for rock and roll traditions from doo-wop to Bruce Springsteen to Little Richard. His new EP is about “the theme of the mind unmoored,” but Furman never seems to lose his artistic way. Details for his show at the Swedish American Hall in San Francisco Wednesday, are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/224/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IICw3txlrbs'\n title='//www.youtube.com/embed/IICw3txlrbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through Aug 6\u003c/strong>: For a couple of years now, we’ve been following San Francisco choreographer \u003ca href=\"http://www.postballet.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Robert Dekkers\u003c/a>‘ evolving dance opus about community and our place in the universe. Now he and his company \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a> are performing all the chapters together in a new staging that features food, mylar balloons, and live music performed by the Living Earth Project. Expect strange and brilliant\u003cem>. Details \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Modest Mouse Singer Cited in Portland Car Crash, No Signs of Impairment",
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"headTitle": "Modest Mouse Singer Cited in Portland Car Crash, No Signs of Impairment | KQED",
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"content": "\u003cp>The lead singer of the alternative band Modest Mouse was cited for crashing into a city of Portland pickup truck after falling asleep at the wheel, police said.\u003c/p>\n\u003cp>Isaac Brock failed to stop Wednesday as he approached traffic that was stopped near the Morrison Bridge in downtown Portland, police spokesman Sgt. Pete Simpson told The Oregonian newspaper \u003ca href=\"http://goo.gl/cUY2an\" target=\"_blank\" rel=\"noopener\">\u003cem>OregonLive\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Brock hit the back of the city truck, which hit a Subaru, which hit another Subaru, which likely hit a fifth car that left the scene perhaps not knowing it had been tapped.\u003c/p>\n\u003cp>The singer told police he had fallen asleep at the wheel. He was evaluated for signs of intoxication, which officers could not confirm.\u003c/p>\n\u003cp>There were no signs Brock was otherwise impaired, so police cited him for careless driving.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simpson said there were no serious injuries and that the investigation is closed.\u003c/p>\n\u003cp>Brock’s publicist, Hector A. Silva, declined to comment to The Associated Press on Thursday.\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 lead singer of the alternative band Modest Mouse was cited for crashing into a city of Portland pickup truck after falling asleep at the wheel, police said.\u003c/p>\n\u003cp>Isaac Brock failed to stop Wednesday as he approached traffic that was stopped near the Morrison Bridge in downtown Portland, police spokesman Sgt. Pete Simpson told The Oregonian newspaper \u003ca href=\"http://goo.gl/cUY2an\" target=\"_blank\" rel=\"noopener\">\u003cem>OregonLive\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Brock hit the back of the city truck, which hit a Subaru, which hit another Subaru, which likely hit a fifth car that left the scene perhaps not knowing it had been tapped.\u003c/p>\n\u003cp>The singer told police he had fallen asleep at the wheel. He was evaluated for signs of intoxication, which officers could not confirm.\u003c/p>\n\u003cp>There were no signs Brock was otherwise impaired, so police cited him for careless driving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simpson said there were no serious injuries and that the investigation is closed.\u003c/p>\n\u003cp>Brock’s publicist, Hector A. Silva, declined to comment to The Associated Press on Thursday.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fairy Wing Maker Casts Spell on Cosplay Community...and Katy Perry",
"headTitle": "Fairy Wing Maker Casts Spell on Cosplay Community…and Katy Perry | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Angela Jarman knew she had reached a career milestone the minute models strutted down the catwalk of a 2014 Victoria’s Secret fashion show wearing her creations. “They found me through a Google search,” Jarman says. “I thought, if that could happen then I knew I made it.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman, who is based in Richmond and is 42 years old, makes fairy wings for a living. Victoria’s Secret models wore Jarman’s handiwork at the lingerie company’s 2014 and 2015 fashion shows in London and New York. Last November, Katy Perry donned a set of rhinestone-encrusted, translucent, white wings made by Jarman for the H&M apparel giant’s holiday ad campaign. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"From the Makers of Happy & Merry H&M presents Katy Perry\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/E71sKFD-spQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman began drawing fantastical and mythical beings when she was in third or fourth grade. “I was always interested in the fantasy genre,” Jarman says. “For a long while unicorns were my main subject matter.” Soon after high school, Jarman decided to get into graphic art and design because her father told her it was a more viable and lucrative career path than drawing wizards and warlocks. Jarman reluctantly agreed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Jarman went to work as a graphic artist for various small companies such as ScanArt, a printing firm based in Richmond. She also worked for her own children’s entertainment business as well as providing face-painting at kids’ parties and other events.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before long, Jarman was itching to make her own set of fairy wings. “I really wanted an original fairy costume,” Jarman says. Inspired by the fantasy movies \u003cem>The Dark Crystal\u003c/em> and \u003cem>Labyrinth, \u003c/em>Jarman set about creating her party wardrobe. “In each movie there were these iridescent and insect-like fairy wings, instead of the glittery and pink fluffy wings,” Jarman says. “And so I tried to re-create that.”\u003c/p>\n\u003cfigure id=\"attachment_11887834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887834 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg\" alt=\"Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her first set of wings, Jarman used iridescent film, heat set vinyl, and wire. She met a photographer who worked at Avalon Arts, a studio in Vallejo, who had a fairy portrait series. Jarman traded her handmade wings for use at the studio in exchange for professional photos of her artwork. Next, she decided to see how well a pair of her handmade wings would sell. When she posted an ad online, they were snatched up almost immediately.\u003c/p>\n\u003cp>Jarman continued to work at parties as well as for a Halloween supplies company until about 2009, when she ditched the day jobs and became a full-time, fairy-wing-fashioning professional, and launched her own company, \u003ca href=\"http://www.fancyfairy.com/\">Fancy Fairy Wings and Things!\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman works from her home, where her studio is colorfully decorated with fabrics, plastic \u003c/span>\u003cspan style=\"font-weight: 400\">flowers, glue guns, and sewing machines. Fairy sculptures and paintings cover the walls and shelves, providing inspiration at every turn. In the corner by Jarman’s living room is a life-size, plastic mannequin dressed in a dark purple corset adorned with the artist’s latest set of hand-painted light pink wings. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891809 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg\" alt=\"Angela Jarman demonstrates the process of heat setting the material for her fairy wings.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Jarman demonstrates the process of heat setting the material for her fairy wings. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jarman begins the fairy wing-making process by designing a template using Adobe Illustrator and sending it to a metal shop in Napa, where workers cut out the wing frames from large stacks of aluminum sheeting. After that, Jarman sands each frame at her home, then sends them off to a coatings business in Richmond where they are powdered (a process involving the application of colored powders to a grounded metal using an electrostatic gun.)\u003c/p>\n\u003cp>Next, Jarman brings the shaped, sanded, powdered wings back home, where she laminates them with an iridescent film and clear vinyl. Once the laminate has been applied, Jarman heats the wings with a heat gun and smooths the surfaces down until they are as wrinkle-free as possible. For the final step, Jarman cuts out the wings using a heat tool and attaches them to a U-shaped back brace.\u003c/p>\n\u003cp>Jarman typically produces about 10 sets of wings a week and ships them all over the U.S. and Eastern Europe — parts of the world where fairy fans flourish in particularly large numbers. A large majority of her clients are avid cosplayers, who wear the wings as part of their costumes to comic book and fantasy conventions, and Halloween enthusiasts looking to enchant guests at a party. And Jarman’s wings don’t come cheap, \u003cstrong>\u003cspan style=\"font-weight: 400\">costing up to $1,000, depending on th\u003c/span>\u003c/strong>\u003cspan style=\"font-weight: 400\">e style \u003c/span>and\u003cspan style=\"font-weight: 400\"> size of the design.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891947 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg\" alt=\"A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price. \u003ccite>(Photo: Jordan Price )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are many big, commercial fairy wing makers across the world. Mass-produced wings run on the cheaper side. You can pick up a set for $25 or less at Walmart or Party City. But these products are typically made of inexpensive nylon and can break easily.\u003c/p>\n\u003cp>As a result, Jarman has created a niche for herself and her business has grown rapidly over the years. The wait-list for Fancy Fairy Wings and Things used to be long: customers sometimes had to place their orders more than two months out, until Jarman switched her business model to ready-to-ship. Jarman says there is enough demand for handmade wings that there is little jockeying for fairy wing maker supremacy among artists involved in the industry.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, Jarman considers many of her competitors to be her friends. This number includes Renee Taylor, a fairy wing artist based in Virginia, who makes her products out of stretched papers, and Angelia Doyle of Gossamer Wings based in Texas, whose work is fabric-based. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11887835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887835 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg\" alt=\"Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. Photo taken by Paul Bayfield of Timesniper.com\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. \u003ccite>(Photo: Paul Bayfield courtesy of Timesniper.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman’s fans don’t just come from the pop culture community. Artists of many kinds gravitate towards her work. “Her talent is undeniable,” says Gregangelo \u003c/span>\u003cspan style=\"font-weight: 400\">Herrera,\u003c/span>\u003cspan style=\"font-weight: 400\"> artistic director of \u003ca href=\"http://gregangelo.com/\" target=\"_blank\" rel=\"noopener\">Velocity Circus\u003c/a>, a circus arts company located in San Francisco. “I’ve created characters for performances based on her wings. She is constantly integrating art and technology and her wings are just one of a kind.”\u003c/span>\u003c/p>\n\u003cp>This month, Jarman is preparing to attend the \u003ca href=\"http://labyrinthmasquerade.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth of Jareth Masquerade Ball\u003c/a> in Los Angeles, where she will debut a set of moving wings that will flutter back and forth. Until now, Jarman has only been able to perfect a set of wings that light up using LED-colored lights. But after several months of experimenting, Jarman says she is able to successfully pull off her first set of flutter-capable wings. Jarman did the astethic and design and her boyfriend Jordan Price worked on the majority of the technology and coding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She plans on putting together an online tutorial to show fairy wing enthusiasts with a technical mindset how to make their own motorized wings. “I always just trying to continue evolving my art and trying to make the most realistic fairy wings as possible,” Jarman says. “Even though fairy wings are just something we imagine.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "Richmond artist Angela Jarman's fairy wing creations are being snapped up by cosplayers, pop stars and big fashion houses alike",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Angela Jarman knew she had reached a career milestone the minute models strutted down the catwalk of a 2014 Victoria’s Secret fashion show wearing her creations. “They found me through a Google search,” Jarman says. “I thought, if that could happen then I knew I made it.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman, who is based in Richmond and is 42 years old, makes fairy wings for a living. Victoria’s Secret models wore Jarman’s handiwork at the lingerie company’s 2014 and 2015 fashion shows in London and New York. Last November, Katy Perry donned a set of rhinestone-encrusted, translucent, white wings made by Jarman for the H&M apparel giant’s holiday ad campaign. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"From the Makers of Happy & Merry H&M presents Katy Perry\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/E71sKFD-spQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman began drawing fantastical and mythical beings when she was in third or fourth grade. “I was always interested in the fantasy genre,” Jarman says. “For a long while unicorns were my main subject matter.” Soon after high school, Jarman decided to get into graphic art and design because her father told her it was a more viable and lucrative career path than drawing wizards and warlocks. Jarman reluctantly agreed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Jarman went to work as a graphic artist for various small companies such as ScanArt, a printing firm based in Richmond. She also worked for her own children’s entertainment business as well as providing face-painting at kids’ parties and other events.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before long, Jarman was itching to make her own set of fairy wings. “I really wanted an original fairy costume,” Jarman says. Inspired by the fantasy movies \u003cem>The Dark Crystal\u003c/em> and \u003cem>Labyrinth, \u003c/em>Jarman set about creating her party wardrobe. “In each movie there were these iridescent and insect-like fairy wings, instead of the glittery and pink fluffy wings,” Jarman says. “And so I tried to re-create that.”\u003c/p>\n\u003cfigure id=\"attachment_11887834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887834 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg\" alt=\"Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her first set of wings, Jarman used iridescent film, heat set vinyl, and wire. She met a photographer who worked at Avalon Arts, a studio in Vallejo, who had a fairy portrait series. Jarman traded her handmade wings for use at the studio in exchange for professional photos of her artwork. Next, she decided to see how well a pair of her handmade wings would sell. When she posted an ad online, they were snatched up almost immediately.\u003c/p>\n\u003cp>Jarman continued to work at parties as well as for a Halloween supplies company until about 2009, when she ditched the day jobs and became a full-time, fairy-wing-fashioning professional, and launched her own company, \u003ca href=\"http://www.fancyfairy.com/\">Fancy Fairy Wings and Things!\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman works from her home, where her studio is colorfully decorated with fabrics, plastic \u003c/span>\u003cspan style=\"font-weight: 400\">flowers, glue guns, and sewing machines. Fairy sculptures and paintings cover the walls and shelves, providing inspiration at every turn. In the corner by Jarman’s living room is a life-size, plastic mannequin dressed in a dark purple corset adorned with the artist’s latest set of hand-painted light pink wings. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891809 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg\" alt=\"Angela Jarman demonstrates the process of heat setting the material for her fairy wings.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Jarman demonstrates the process of heat setting the material for her fairy wings. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jarman begins the fairy wing-making process by designing a template using Adobe Illustrator and sending it to a metal shop in Napa, where workers cut out the wing frames from large stacks of aluminum sheeting. After that, Jarman sands each frame at her home, then sends them off to a coatings business in Richmond where they are powdered (a process involving the application of colored powders to a grounded metal using an electrostatic gun.)\u003c/p>\n\u003cp>Next, Jarman brings the shaped, sanded, powdered wings back home, where she laminates them with an iridescent film and clear vinyl. Once the laminate has been applied, Jarman heats the wings with a heat gun and smooths the surfaces down until they are as wrinkle-free as possible. For the final step, Jarman cuts out the wings using a heat tool and attaches them to a U-shaped back brace.\u003c/p>\n\u003cp>Jarman typically produces about 10 sets of wings a week and ships them all over the U.S. and Eastern Europe — parts of the world where fairy fans flourish in particularly large numbers. A large majority of her clients are avid cosplayers, who wear the wings as part of their costumes to comic book and fantasy conventions, and Halloween enthusiasts looking to enchant guests at a party. And Jarman’s wings don’t come cheap, \u003cstrong>\u003cspan style=\"font-weight: 400\">costing up to $1,000, depending on th\u003c/span>\u003c/strong>\u003cspan style=\"font-weight: 400\">e style \u003c/span>and\u003cspan style=\"font-weight: 400\"> size of the design.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891947 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg\" alt=\"A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price. \u003ccite>(Photo: Jordan Price )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are many big, commercial fairy wing makers across the world. Mass-produced wings run on the cheaper side. You can pick up a set for $25 or less at Walmart or Party City. But these products are typically made of inexpensive nylon and can break easily.\u003c/p>\n\u003cp>As a result, Jarman has created a niche for herself and her business has grown rapidly over the years. The wait-list for Fancy Fairy Wings and Things used to be long: customers sometimes had to place their orders more than two months out, until Jarman switched her business model to ready-to-ship. Jarman says there is enough demand for handmade wings that there is little jockeying for fairy wing maker supremacy among artists involved in the industry.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, Jarman considers many of her competitors to be her friends. This number includes Renee Taylor, a fairy wing artist based in Virginia, who makes her products out of stretched papers, and Angelia Doyle of Gossamer Wings based in Texas, whose work is fabric-based. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11887835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887835 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg\" alt=\"Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. Photo taken by Paul Bayfield of Timesniper.com\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. \u003ccite>(Photo: Paul Bayfield courtesy of Timesniper.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman’s fans don’t just come from the pop culture community. Artists of many kinds gravitate towards her work. “Her talent is undeniable,” says Gregangelo \u003c/span>\u003cspan style=\"font-weight: 400\">Herrera,\u003c/span>\u003cspan style=\"font-weight: 400\"> artistic director of \u003ca href=\"http://gregangelo.com/\" target=\"_blank\" rel=\"noopener\">Velocity Circus\u003c/a>, a circus arts company located in San Francisco. “I’ve created characters for performances based on her wings. She is constantly integrating art and technology and her wings are just one of a kind.”\u003c/span>\u003c/p>\n\u003cp>This month, Jarman is preparing to attend the \u003ca href=\"http://labyrinthmasquerade.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth of Jareth Masquerade Ball\u003c/a> in Los Angeles, where she will debut a set of moving wings that will flutter back and forth. Until now, Jarman has only been able to perfect a set of wings that light up using LED-colored lights. But after several months of experimenting, Jarman says she is able to successfully pull off her first set of flutter-capable wings. Jarman did the astethic and design and her boyfriend Jordan Price worked on the majority of the technology and coding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She plans on putting together an online tutorial to show fairy wing enthusiasts with a technical mindset how to make their own motorized wings. “I always just trying to continue evolving my art and trying to make the most realistic fairy wings as possible,” Jarman says. “Even though fairy wings are just something we imagine.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Young Inmates Help Turn Solitary Confinement Cells Into Art Spaces",
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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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"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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"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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"title": "Betty Guy, Internationally Renowned Watercolor Artist, Dead at 95",
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"headTitle": "Betty Guy, Internationally Renowned Watercolor Artist, Dead at 95 | KQED",
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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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"disqusTitle": "New Music: Yea-Ming, Venus and the Moon and The Side Eyes",
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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. 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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