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"content": "\u003cp>Power-and-blood fantasy saga \u003cem>Game of Thrones\u003c/em> ruled the Emmy Award nominations Thursday with a leading 23 bids, including best drama, while a real-life epic of murder and celebrity, \u003cem>The People v. O.J. Simpson\u003c/em>, was close behind with 22 nods.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em>, which won a record 12 Emmys last fall including best drama, gets the chance to claim its second top award. \u003cem>Veep\u003c/em>, last year’s best comedy series winner, also will get another shot at holding office and, with 17 nominations, was the comedy leader.\u003c/p>\n\u003cp>Breakthrough nominations include a best comedy series nod for sophomore \u003cem>black-ish\u003c/em>, which brought the African-American family sitcom back to network TV, with bids as well for its stars, Anthony Anderson — who helped announce the awards live on Thursday and read his show’s name with glee — and his co-star Tracee Ellis Ross.\u003c/p>\n\u003cp>“I’m on cloud nine right now,” Anderson said afterward. “When hope becomes reality, that’s what it is. I was just a 9-year-old kid growing up in Compton, California, with a dream and this is the dream that I had.”\u003c/p>\n\u003cp>They were among a number of black actors recognized by TV academy voters, who have started to keep pace with TV’s growing diversity — in sharp contrast to moviedom’s Academy Awards, which were slammed as “Oscars So White” this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viola Davis, the \u003cem>How to Get Away with Murder\u003c/em> star who last year became the first woman of color to win a best drama actress trophy, was nominated again. So was \u003cem>Empire\u003c/em> star Taraji P. Henson.\u003c/p>\n\u003cp>Each of the major acting categories included at least one minority nominee. But there were no major nods for the stars of \u003cem>Fresh Off the Boat\u003c/em> or other Asian-American actors, or for Latinos, which has been a recurrent Emmy pattern.\u003c/p>\n\u003cp>Networks have reason for concern as well. In the increasingly crowded TV universe, traditional broadcasts again lost Emmy ground to emerging platforms, including streaming services Netflix and Amazon, both of which boosted their tallies. Even HBO, which again earned the most bids led by “Game of Thrones,” marked a retreat in what had been its ever-growing dominance: its haul dropped from 126 nods last year to 94 this time.\u003cbr>\n\u003cem>\u003cbr>\nGame of Thrones\u003c/em> and \u003cem>Mr. Robot\u003c/em> will compete with \u003cem>Better Call Saul\u003c/em>, \u003cem>Homeland\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>The Americans\u003c/em> and \u003cem>Downton Abbey\u003c/em>, the last a nod for its farewell season. But the final season of \u003cem>The Good Wife\u003c/em> was not recognized, and star Julianna Margulies also was snubbed.\u003c/p>\n\u003cp>For Stephen Colbert, it was the inaugural season of his CBS late-night show that was overlooked, while network colleague James Corden earned a best variety talk series bid for his “Late Late Show.”\u003c/p>\n\u003cp>Aziz Ansari received a lead comedy acting bid for his series \u003cem>Master of None\u003c/em>, a first for an Indian-American actor, and the show received a best comedy series nomination. Rami Malek, of Egyptian descent, earned a top drama acting nod for his role as a renegade hacker in another freshman, \u003cem>Mr. Robot\u003c/em>, which also will compete for drama honors.\u003c/p>\n\u003cp>\u003cem>The Americans\u003c/em>, which gained in attention last season, also earned bids for its stars, Keri Russell and Matthew Rhys.\u003c/p>\n\u003cp>Besides Russell, Davis and Henson, lead drama actress bids went to Claire Danes for \u003cem>Homeland \u003c/em>and Tatiana Maslany for \u003cem>Orphan Black\u003c/em>.\u003c/p>\n\u003cp>Malek and Rhys will be competing with Kevin Spacey for \u003cem>House of Cards\u003c/em>, Kyle Chandler for \u003cem>Bloodline\u003c/em>, Bob Odenkirk for \u003cem>Better Call Saul\u003c/em> and Liev Schreiber for \u003cem>Ray Donovan\u003c/em>.\u003c/p>\n\u003cp>The ensemble cast of \u003cem>Game of Thrones\u003c/em> found leading bids elusive. Peter Dinklage, named last year’s best supporting actor, will defend his title, with a nod also going to Kit Harington, who plays fan favorite Jon Snow. Emilia Clarke, Lena Headey and Maisie Williams earned supporting actress bids in a year that the show’s female characters gained the upper hand.\u003c/p>\n\u003cp>On the comedy side, \u003cem>Veep\u003c/em>, \u003cem>black-ish\u003c/em> and \u003cem>Master of None\u003c/em> will tussle for the trophy with five-time champ \u003cem>Modern Family\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>Silicon Valley\u003c/em> and \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>A top acting nod for \u003cem>Veep\u003c/em> star Julia Louis-Dreyfus, who plays a U.S. vice president now elevated to the Oval Office, gives her the chance to score her fifth consecutive win and set a record.\u003c/p>\n\u003cp>She and Ross will be competing with Ellie Kemper in \u003cem>Unbreakable Kimmy Schmidt\u003c/em>, Laurie Metcalf in \u003cem>Getting On\u003c/em>, Amy Schumer in \u003cem>Inside Amy Schumer\u003c/em> and Lily Tomlin in \u003cem>Grace and Frankie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Black-ish\u003c/em> star Anderson, who got his second nod, will be competing with last year’s winner, Jeffrey Tambor of \u003cem>Transparent\u003c/em>, along with Ansari, Will Forte for \u003cem>The Last Man on Earth\u003c/em>, William H. Macy for \u003cem>Shameless\u003c/em> and Thomas Middleditch for \u003cem>Silicon Valley\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>, which recounted the football legend’s sensational, racially charged trial for the slayings of his ex-wife, Nicole Brown Simpson, and her friend, Ron Goldman, is a best limited series nominee and earned a number of acting awards for its cast’s portrayal of well-known figures.\u003c/p>\n\u003cp>Lead nominations went to Cuba Gooding Jr. as Simpson, Courtney B. Vance as defense attorney Johnnie Cochran and Sarah Paulson as prosecutor Marcia Clark. Supporting bids were given to Sterling K. Brown as prosecutor Christopher Darden, David Schwimmer as Simpson friend Robert Kardashian — patriarch of the now-famous family — and John Travolta as defense attorney Robert Shapiro.\u003c/p>\n\u003cp>Gooding and Vance will compete with Bryan Cranston as President Lyndon B. Johnson in \u003cem>All The Way\u003c/em>, Benedict Cumberbatch in \u003cem>Sherlock: The Abominable Bride (Masterpiece)\u003c/em>, Idris Elba in \u003cem>Luther\u003c/em> and Tom Hiddleston in \u003cem>The Night Manager\u003c/em>.\u003c/p>\n\u003cp>In a phone interview, Paulson said that despite joy over her recognition she was happiest to learn that Brown was nominated for his portrayal of Darden.\u003c/p>\n\u003cp>“I jumped up and down …. more about that than about my own,” Paulson said. “I owe my performance whatever it is to him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 68th prime-time Emmy show will be broadcast live on ABC from 8-11 p.m. EDT on Sept. 18, hosted by Jimmy Kimmel.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Power-and-blood fantasy saga \u003cem>Game of Thrones\u003c/em> ruled the Emmy Award nominations Thursday with a leading 23 bids, including best drama, while a real-life epic of murder and celebrity, \u003cem>The People v. O.J. Simpson\u003c/em>, was close behind with 22 nods.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em>, which won a record 12 Emmys last fall including best drama, gets the chance to claim its second top award. \u003cem>Veep\u003c/em>, last year’s best comedy series winner, also will get another shot at holding office and, with 17 nominations, was the comedy leader.\u003c/p>\n\u003cp>Breakthrough nominations include a best comedy series nod for sophomore \u003cem>black-ish\u003c/em>, which brought the African-American family sitcom back to network TV, with bids as well for its stars, Anthony Anderson — who helped announce the awards live on Thursday and read his show’s name with glee — and his co-star Tracee Ellis Ross.\u003c/p>\n\u003cp>“I’m on cloud nine right now,” Anderson said afterward. “When hope becomes reality, that’s what it is. I was just a 9-year-old kid growing up in Compton, California, with a dream and this is the dream that I had.”\u003c/p>\n\u003cp>They were among a number of black actors recognized by TV academy voters, who have started to keep pace with TV’s growing diversity — in sharp contrast to moviedom’s Academy Awards, which were slammed as “Oscars So White” this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viola Davis, the \u003cem>How to Get Away with Murder\u003c/em> star who last year became the first woman of color to win a best drama actress trophy, was nominated again. So was \u003cem>Empire\u003c/em> star Taraji P. Henson.\u003c/p>\n\u003cp>Each of the major acting categories included at least one minority nominee. But there were no major nods for the stars of \u003cem>Fresh Off the Boat\u003c/em> or other Asian-American actors, or for Latinos, which has been a recurrent Emmy pattern.\u003c/p>\n\u003cp>Networks have reason for concern as well. In the increasingly crowded TV universe, traditional broadcasts again lost Emmy ground to emerging platforms, including streaming services Netflix and Amazon, both of which boosted their tallies. Even HBO, which again earned the most bids led by “Game of Thrones,” marked a retreat in what had been its ever-growing dominance: its haul dropped from 126 nods last year to 94 this time.\u003cbr>\n\u003cem>\u003cbr>\nGame of Thrones\u003c/em> and \u003cem>Mr. Robot\u003c/em> will compete with \u003cem>Better Call Saul\u003c/em>, \u003cem>Homeland\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>The Americans\u003c/em> and \u003cem>Downton Abbey\u003c/em>, the last a nod for its farewell season. But the final season of \u003cem>The Good Wife\u003c/em> was not recognized, and star Julianna Margulies also was snubbed.\u003c/p>\n\u003cp>For Stephen Colbert, it was the inaugural season of his CBS late-night show that was overlooked, while network colleague James Corden earned a best variety talk series bid for his “Late Late Show.”\u003c/p>\n\u003cp>Aziz Ansari received a lead comedy acting bid for his series \u003cem>Master of None\u003c/em>, a first for an Indian-American actor, and the show received a best comedy series nomination. Rami Malek, of Egyptian descent, earned a top drama acting nod for his role as a renegade hacker in another freshman, \u003cem>Mr. Robot\u003c/em>, which also will compete for drama honors.\u003c/p>\n\u003cp>\u003cem>The Americans\u003c/em>, which gained in attention last season, also earned bids for its stars, Keri Russell and Matthew Rhys.\u003c/p>\n\u003cp>Besides Russell, Davis and Henson, lead drama actress bids went to Claire Danes for \u003cem>Homeland \u003c/em>and Tatiana Maslany for \u003cem>Orphan Black\u003c/em>.\u003c/p>\n\u003cp>Malek and Rhys will be competing with Kevin Spacey for \u003cem>House of Cards\u003c/em>, Kyle Chandler for \u003cem>Bloodline\u003c/em>, Bob Odenkirk for \u003cem>Better Call Saul\u003c/em> and Liev Schreiber for \u003cem>Ray Donovan\u003c/em>.\u003c/p>\n\u003cp>The ensemble cast of \u003cem>Game of Thrones\u003c/em> found leading bids elusive. Peter Dinklage, named last year’s best supporting actor, will defend his title, with a nod also going to Kit Harington, who plays fan favorite Jon Snow. Emilia Clarke, Lena Headey and Maisie Williams earned supporting actress bids in a year that the show’s female characters gained the upper hand.\u003c/p>\n\u003cp>On the comedy side, \u003cem>Veep\u003c/em>, \u003cem>black-ish\u003c/em> and \u003cem>Master of None\u003c/em> will tussle for the trophy with five-time champ \u003cem>Modern Family\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>Silicon Valley\u003c/em> and \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>A top acting nod for \u003cem>Veep\u003c/em> star Julia Louis-Dreyfus, who plays a U.S. vice president now elevated to the Oval Office, gives her the chance to score her fifth consecutive win and set a record.\u003c/p>\n\u003cp>She and Ross will be competing with Ellie Kemper in \u003cem>Unbreakable Kimmy Schmidt\u003c/em>, Laurie Metcalf in \u003cem>Getting On\u003c/em>, Amy Schumer in \u003cem>Inside Amy Schumer\u003c/em> and Lily Tomlin in \u003cem>Grace and Frankie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Black-ish\u003c/em> star Anderson, who got his second nod, will be competing with last year’s winner, Jeffrey Tambor of \u003cem>Transparent\u003c/em>, along with Ansari, Will Forte for \u003cem>The Last Man on Earth\u003c/em>, William H. Macy for \u003cem>Shameless\u003c/em> and Thomas Middleditch for \u003cem>Silicon Valley\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>, which recounted the football legend’s sensational, racially charged trial for the slayings of his ex-wife, Nicole Brown Simpson, and her friend, Ron Goldman, is a best limited series nominee and earned a number of acting awards for its cast’s portrayal of well-known figures.\u003c/p>\n\u003cp>Lead nominations went to Cuba Gooding Jr. as Simpson, Courtney B. Vance as defense attorney Johnnie Cochran and Sarah Paulson as prosecutor Marcia Clark. Supporting bids were given to Sterling K. Brown as prosecutor Christopher Darden, David Schwimmer as Simpson friend Robert Kardashian — patriarch of the now-famous family — and John Travolta as defense attorney Robert Shapiro.\u003c/p>\n\u003cp>Gooding and Vance will compete with Bryan Cranston as President Lyndon B. Johnson in \u003cem>All The Way\u003c/em>, Benedict Cumberbatch in \u003cem>Sherlock: The Abominable Bride (Masterpiece)\u003c/em>, Idris Elba in \u003cem>Luther\u003c/em> and Tom Hiddleston in \u003cem>The Night Manager\u003c/em>.\u003c/p>\n\u003cp>In a phone interview, Paulson said that despite joy over her recognition she was happiest to learn that Brown was nominated for his portrayal of Darden.\u003c/p>\n\u003cp>“I jumped up and down …. more about that than about my own,” Paulson said. “I owe my performance whatever it is to him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 68th prime-time Emmy show will be broadcast live on ABC from 8-11 p.m. EDT on Sept. 18, hosted by Jimmy Kimmel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "solitary-confinement-play-the-box-thinks-outside-the-box-for-a-bit",
"title": "Solitary Confinement Play 'The Box' Thinks Outside the Box...For a Bit",
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"content": "\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"title": "Solitary Confinement Play 'The Box' Thinks Outside the Box...For a Bit | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Two More 'Hamilton' Principals Leave; Chicago Cast Revealed",
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"content": "\u003cp>Two new Tony Award-winners from \u003cem>Hamilton\u003c/em> — Daveed Diggs and Renée Elise Goldsberry — will soon leave the Broadway company, while producers unveiled the new cast of the show’s upcoming Chicago production.\u003c/p>\n\u003cp>Diggs, who plays both the Marquis de Lafayette and Thomas Jefferson, will leave the Broadway show July 15, while Goldsberry, who plays Angelica Schuyler, will leave sometime this fall, her publicist confirmed. The duo will be joining the recently departed creator Lin-Manuel Miranda , Leslie Odom Jr. and Phillipa Soo out the \u003cem>Hamilton\u003c/em> door.\u003c/p>\n\u003cp>Meanwhile, Broadway veterans Miguel Cervantes, Karen Olivo and Alexander Gemignani were unveiled Wednesday as the next leaders of the cast in Chicago.\u003c/p>\n\u003cp>Cervantes, whose Broadway credits include \u003cem>If/Then\u003c/em> and \u003cem>American Idiot\u003c/em>, will play Alexander Hamilton this fall when the Chicago production opens. Olivo, who won a Tony playing of Anita in the 2009 Broadway revival of \u003cem>West Side Story\u003c/em>, will portray Angelica Schuyler. Gemignani, who has been in \u003cem>Violet\u003c/em>, Les Miserables” and “Sweeny Todd,” will play King George III in the Chicago production.\u003c/p>\n\u003cp>The rest of the cast there will include Ari Afsar as Eliza Hamilton, Chris Lee as Lafayette/Jefferson, Wallace Smith as Hercules Mulligan and James Madison, and Samantha Marie Ware as Peggy Schuyler and Maria Reynolds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, which won 11 Tony Awards last month, has been praised by politicians and rap stars, influenced the debate over the nation’s currency and burst through the Broadway bubble like none other. On Tuesday, the show held a fundraiser for presumptive Democratic presidential nominee Hillary Clinton, with donors paying between $2,700 and $10,000 for a seat, and event chairs contributing $100,000 for a two-seat package and a wrap party.\u003c/p>\n\u003cp>In addition to the Chicago production, a touring production begins a 21-week run in San Francisco in 2017 before moving to Los Angeles. A London production is slated for 2017.\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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"excerpt": "Oakland native and Tony Award winner Daveed Diggs will be leaving the Broadway production on July 15",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, which won 11 Tony Awards last month, has been praised by politicians and rap stars, influenced the debate over the nation’s currency and burst through the Broadway bubble like none other. On Tuesday, the show held a fundraiser for presumptive Democratic presidential nominee Hillary Clinton, with donors paying between $2,700 and $10,000 for a seat, and event chairs contributing $100,000 for a two-seat package and a wrap party.\u003c/p>\n\u003cp>In addition to the Chicago production, a touring production begins a 21-week run in San Francisco in 2017 before moving to Los Angeles. A London production is slated for 2017.\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>Jennifer Aniston is one of those celebrities who provokes endless speculation not because of her outlandish debutante-like behavior, but because of her seeming normality: She's drop-dead gorgeous and fabulously wealthy, yes, but she's also something of a permanent girl next door. She got famous on one of America's most beloved sitcoms, for starters. And then there's her role in the celebrity love triangle that rocked the mid-aughts -- she the jilted good girl to Angelina Jolie's edgy, black swan temptress.\u003c/p>\n\u003cp>This is all, of course, utter bullsh*t perpetrated mostly by tabloids' bottom lines. It does, however, provide some context for why the media has been fixated since time immemorial on whether or not Jennifer Aniston\u003ca href=\"http://www.intouchweekly.com/posts/jennifer-aniston-pregnant-105227\" target=\"_blank\"> is pregnant\u003c/a>, thinking about becoming pregnant, \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2313617/Jennifer-Aniston-relying-cupping-boost-fertility.html\" target=\"_blank\">sad that she is not pregnant\u003c/a>, or some variation thereof. It's your nagging Aunt Gertie reminding you over the phone from Florida that you're not getting any younger, you know -- only on a world stage. Seems fun!\u003c/p>\n\u003cp>https://twitter.com/KateHarding/status/743152115770597379\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Well, she's apparently had enough. \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">Aniston just penned an open letter in the \u003c/a>\u003cem>Huffington Post\u003c/em> decrying the media's objectification of women, alongside journalists' fixation on her childfree existence and when it will end.\u003c/p>\n\u003cblockquote>\u003cp>If I am some kind of symbol to some people out there, then clearly I am an example of the lens through which we, as a society, view our mothers, daughters, sisters, wives, female friends and colleagues. The objectification and scrutiny we put women through is absurd and disturbing. The way I am portrayed by the media is simply a reflection of how we see and portray women in general, measured against some warped standard of beauty. ...\u003c/p>\n\u003cp>The message that girls are not pretty unless they’re incredibly thin, that they’re not worthy of our attention unless they look like a supermodel or an actress on the cover of a magazine is something we’re all willingly buying into. This conditioning is something girls then carry into womanhood. We use celebrity “news” to perpetuate this dehumanizing view of females, focused solely on one’s physical appearance, which tabloids turn into a sporting event of speculation. Is she pregnant? Is she eating too much? Has she let herself go? Is her marriage on the rocks because the camera detects some physical “imperfection”?\u003c/p>\u003c/blockquote>\n\u003cp>And:\u003c/p>\n\u003cblockquote>\u003cp>I have grown tired of being part of this narrative. Yes, I may become a mother some day, and since I’m laying it all out there, if I ever do, I will be the first to let you know. But I’m not in pursuit of motherhood because I feel incomplete in some way, as our celebrity news culture would lead us all to believe. I resent being made to feel “less than” because my body is changing and/or I had a burger for lunch and was photographed from a weird angle and therefore deemed one of two things: “pregnant” or “fat.”\u003c/p>\u003c/blockquote>\n\u003cp>If you've ever spent five minutes reading an \u003cem>Us Weekly\u003c/em> \"article\" featuring photos of Aniston or another celebrity with circles drawn over their body parts, take five minutes and \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">read the whole thing here.\u003c/a> All in all, it's a compelling yet (sorry) highly relatable message for Aniston to send.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Truth be told, the only thing I find to be slightly off the mark in this piece is the implication that she ever eats burgers for lunch. Sorry, Jen. Otherwise: Go on with your bad (gorgeous, 47-year-old) self. I'm not holding my breath, but Aunt Gertie really should find a better hobby.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jennifer Aniston is one of those celebrities who provokes endless speculation not because of her outlandish debutante-like behavior, but because of her seeming normality: She's drop-dead gorgeous and fabulously wealthy, yes, but she's also something of a permanent girl next door. She got famous on one of America's most beloved sitcoms, for starters. And then there's her role in the celebrity love triangle that rocked the mid-aughts -- she the jilted good girl to Angelina Jolie's edgy, black swan temptress.\u003c/p>\n\u003cp>This is all, of course, utter bullsh*t perpetrated mostly by tabloids' bottom lines. It does, however, provide some context for why the media has been fixated since time immemorial on whether or not Jennifer Aniston\u003ca href=\"http://www.intouchweekly.com/posts/jennifer-aniston-pregnant-105227\" target=\"_blank\"> is pregnant\u003c/a>, thinking about becoming pregnant, \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2313617/Jennifer-Aniston-relying-cupping-boost-fertility.html\" target=\"_blank\">sad that she is not pregnant\u003c/a>, or some variation thereof. It's your nagging Aunt Gertie reminding you over the phone from Florida that you're not getting any younger, you know -- only on a world stage. Seems fun!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>Well, she's apparently had enough. \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">Aniston just penned an open letter in the \u003c/a>\u003cem>Huffington Post\u003c/em> decrying the media's objectification of women, alongside journalists' fixation on her childfree existence and when it will end.\u003c/p>\n\u003cblockquote>\u003cp>If I am some kind of symbol to some people out there, then clearly I am an example of the lens through which we, as a society, view our mothers, daughters, sisters, wives, female friends and colleagues. The objectification and scrutiny we put women through is absurd and disturbing. The way I am portrayed by the media is simply a reflection of how we see and portray women in general, measured against some warped standard of beauty. ...\u003c/p>\n\u003cp>The message that girls are not pretty unless they’re incredibly thin, that they’re not worthy of our attention unless they look like a supermodel or an actress on the cover of a magazine is something we’re all willingly buying into. This conditioning is something girls then carry into womanhood. We use celebrity “news” to perpetuate this dehumanizing view of females, focused solely on one’s physical appearance, which tabloids turn into a sporting event of speculation. Is she pregnant? Is she eating too much? Has she let herself go? Is her marriage on the rocks because the camera detects some physical “imperfection”?\u003c/p>\u003c/blockquote>\n\u003cp>And:\u003c/p>\n\u003cblockquote>\u003cp>I have grown tired of being part of this narrative. Yes, I may become a mother some day, and since I’m laying it all out there, if I ever do, I will be the first to let you know. But I’m not in pursuit of motherhood because I feel incomplete in some way, as our celebrity news culture would lead us all to believe. I resent being made to feel “less than” because my body is changing and/or I had a burger for lunch and was photographed from a weird angle and therefore deemed one of two things: “pregnant” or “fat.”\u003c/p>\u003c/blockquote>\n\u003cp>If you've ever spent five minutes reading an \u003cem>Us Weekly\u003c/em> \"article\" featuring photos of Aniston or another celebrity with circles drawn over their body parts, take five minutes and \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">read the whole thing here.\u003c/a> All in all, it's a compelling yet (sorry) highly relatable message for Aniston to send.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Truth be told, the only thing I find to be slightly off the mark in this piece is the implication that she ever eats burgers for lunch. Sorry, Jen. Otherwise: Go on with your bad (gorgeous, 47-year-old) self. I'm not holding my breath, but Aunt Gertie really should find a better hobby.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AR3hY9iB5-I\u003c/p>\n\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "A Computer Binge-Watched TV and Learned to Predict What Happens Next | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\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/AR3hY9iB5-I'\n title='//www.youtube.com/embed/AR3hY9iB5-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Are Ships Buried Under San Francisco?",
"headTitle": "Why Are Ships Buried Under San Francisco? | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that’s all about answering \u003cem>your\u003c/em> questions about the Bay Area. Find us on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n the heart of San Francisco’s Financial District, you can grab a drink at the Old Ship Saloon. Owner Bill Duffy says the bar opened in 1851 inside the hull of the Arkansas, a ship that now lies in the dirt below the bar.\u003c/p>\n\u003cp>“People who wanted to go to the bar would have to get up this plank and in through the side of the ship,” says Duffy.\u003c/p>\n\u003cp>The Arkansas is one of 30 to 60 ships buried under the city. Some are marked with above-ground plaques, but many go completely unrecognized — a ghost fleet beneath your feet. Which brings us to the question:\u003c/p>\n\u003ch2>Why are there ships under San Francisco?\u003c/h2>\n\u003cp>Most of the buried ships lie under the Financial District and the Embarcadero — two of the city’s flattest neighborhoods. In a city known for its hills, you’d hardly know it taking a walk from the Embarcadero and the Transamerica Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291570006″ 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>“You can find the original shoreline by using your feet,” says Kevin Boyd, senior science writer at the Exploratorium, where an exhibit called “The Changing Shoreline of San Francisco” is currently on display. “As soon as you find yourself heading uphill at any significant degree, you can be pretty sure you’re close to the early shoreline.”\u003c/p>\n\u003cp>But why did the shoreline change? And how did the ships get buried there?\u003c/p>\n\u003cfigure id=\"attachment_10982521\" class=\"wp-caption aligncenter\" style=\"max-width: 3888px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982521 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg\" alt=\"The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\" width=\"3888\" height=\"2592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg 3888w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-960x640.jpg 960w\" sizes=\"(max-width: 3888px) 100vw, 3888px\">\u003cfigcaption class=\"wp-caption-text\">The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco in 1848 was a small town of a few hundred. But the discovery of gold that year had a pretty big impact. The small town became a city,” says James Delgado, a maritime archaeologist at the National Oceanic and Atmospheric Administration and author of “\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520255807\">Gold Rush Port.\u003c/a>”\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>After gold was discovered, ships pregnant with people and goods poured into the Bay Area. They dropped anchor in the deeper waters offshore, somewhere below today’s Bay Bridge.\u003c/p>\n\u003cp>Once moored, many of the ships never set sail again. Some vessels had arrived to the Gold Coast in a decrepit state, the owners knowingly sending the ships to the bay on their last voyage. Other ships simply had trouble leaving once sailors caught gold fever.\u003c/p>\n\u003cfigure id=\"attachment_10982724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Clipper-California-800x500.jpg\" alt=\"An advertisement for a line of ships bringing passengers to the Gold Rush.\" width=\"800\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-800x500.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1920x1200.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1180x738.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An advertisement for a line of ships bringing passengers to the Gold Rush.\u003c/figcaption>\u003c/figure>\n\u003cp>“There were large numbers of desertions, in some cases even officers,” says Delgado.\u003c/p>\n\u003cp>The harbor became clogged as the number of ships climbed near 1,000. As the mass grew, the ships became a greater nuisance. Many of the ships had to have their rigging taken down in order to avoid entanglement with neighboring vessels. Contemporary observers often referred to it as a “forest of masts.”\u003c/p>\n\u003cp>Because the ships were stationed offshore in deep water, goods had to be slogged across half a mile of the shallow, muddy tidal flats. Merchants had to pay workers handsomely to forget about their gold fever and accept the job of a porter.\u003c/p>\n\u003cfigure id=\"attachment_10981646\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10981646 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg\" alt=\"The waterfront in 1851 (San Francisco Maritime Museum National Historical Park)\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waterfront in 1851. (Courtesy of the San Francisco Maritime Museum National Historical Park)\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, politicians devised a solution to lessen these hefty expenses: bring the shoreline closer to deep water. The city began selling water lots out in the Bay on the condition that buyers fill them in with land.\u003c/p>\n\u003cp>“In order to secure the title, you would put real property on it,” says Delgado. “You could drive pilings and build a fence around it. But the easiest, cheapest way was to do that with a ship.”\u003c/p>\n\u003cp>Land in Gold Rush-era San Francisco was incredibly valuable and people tried to secure these water lots any way they could.\u003c/p>\n\u003cp>“If you scuttled your ship, you could claim the land under it as part of your salvage,” says Richard Everett, curator of the San Francisco Maritime National Historic Park.\u003c/p>\n\u003cfigure id=\"attachment_10991294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10991294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg\" alt=\"A map of the buried ships under San Francisco.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the buried ships under San Francisco. \u003ccite>(San Francisco Maritime National Historic Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some men used this technicality to lay claim to other people’s lots. They were known as the “hulk undertakers.”\u003c/p>\n\u003cp>In the dead of night, they would sail ships over valuable lots, unplug holes drilled into the ship’s keel and \u003cem>conveniently\u003c/em> lose the vessel on the spot.\u003c/p>\n\u003cp>“There were actual open wars. One day the captain of the hulk undertakers was in the midst of giving a command when a wharf employee fired a shot at him. His mouth was open, he was yelling, and the bullet passed through one cheek and out the other, missing his tongue and his teeth. To the end of his days he wore a beard to cover those two scars on either side of his mouth,” says Delgado.\u003c/p>\n\u003cp>Besides land, San Francisco also needed buildings. Because the city grew so rapidly and lumber was expensive to mill, many of the early buildings were constructed of canvas tents. One visitor described San Francisco as a magic lantern city at night, because the tents covering the hillsides would glow from within. While this may have been picturesque, the residents wanted more permanent structures, so they turned to the ships in the harbor.\u003c/p>\n\u003cp>The junker ships were taken to “Rotten Row,” where Charles Hare and the local Chinese community systematically broke down hundreds of ships. The wood and metal were recycled into building materials.\u003c/p>\n\u003cp>About 200 of the nicer ships were easily turned into permanent structures. The majority were used as warehouses but other ships became hotels, offices, bars, counting houses, restaurants, auction halls, banks, cafes and a church. Even the city jail moved onto a ship once the old one became overcrowded and worn.\u003c/p>\n\u003cfigure id=\"attachment_10991250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10991250 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg\" alt=\"An illustration of early San Francisco where old ships were converted into buildings.\" width=\"800\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of early San Francisco, where old ships were converted into buildings. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the prisoners actually was said to have taken the door off its hinges and carried it on his back to make a show and to demand that the jailer feed him because the jailer had skipped a meal,” says Delgado.\u003c/p>\n\u003cp>As lots of water was filled and the city expanded into the Bay, many of the floating buildings found themselves surrounded by land, sitting along city streets.\u003c/p>\n\u003cp>But then there were a series of fires. The biggest blaze ripped through the city on May 4, 1851. It took out about 20 city blocks and destroyed more than a thousand buildings.\u003c/p>\n\u003cp>“That was the giant fire that took out most of the waterfront. Many of the ships burned down to their water lines,” says Everett.\u003c/p>\n\u003cfigure id=\"attachment_10982523\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982523 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg\" alt=\"A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the De Young Legion of Honor)\" width=\"796\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg 796w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865-400x282.jpg 400w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the Fine Arts Museums of San Francisco’s Permanent Collection )\u003c/figcaption>\u003c/figure>\n\u003cp>Dozens of ships stayed behind, and remain firmly anchored in what today is the Financial District or Embarcadero.\u003c/p>\n\u003cp>The city forgot about the ships. One by one, they’ve been built over. Nowadays, we barely think about the hulks lying just under our feet.\u003c/p>\n\u003cp>That is, until we have to lay a new foundation or dig a fresh tunnel.\u003c/p>\n\u003cp>In 1994, Muni was digging a light-rail tunnel beneath Justin Herman Plaza on the Embarcadero when workers hit a ship — the Rome. The vessel was so huge they literally had to tunnel through. Now, thousands of riders on J, K, L, M, N and T trains unknowingly ride through its hull every day.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want the Bay Curious team to investigate? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that’s all about answering \u003cem>your\u003c/em> questions about the Bay Area. Find us on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the heart of San Francisco’s Financial District, you can grab a drink at the Old Ship Saloon. Owner Bill Duffy says the bar opened in 1851 inside the hull of the Arkansas, a ship that now lies in the dirt below the bar.\u003c/p>\n\u003cp>“People who wanted to go to the bar would have to get up this plank and in through the side of the ship,” says Duffy.\u003c/p>\n\u003cp>The Arkansas is one of 30 to 60 ships buried under the city. Some are marked with above-ground plaques, but many go completely unrecognized — a ghost fleet beneath your feet. Which brings us to the question:\u003c/p>\n\u003ch2>Why are there ships under San Francisco?\u003c/h2>\n\u003cp>Most of the buried ships lie under the Financial District and the Embarcadero — two of the city’s flattest neighborhoods. In a city known for its hills, you’d hardly know it taking a walk from the Embarcadero and the Transamerica Building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291570006″&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/291570006″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You can find the original shoreline by using your feet,” says Kevin Boyd, senior science writer at the Exploratorium, where an exhibit called “The Changing Shoreline of San Francisco” is currently on display. “As soon as you find yourself heading uphill at any significant degree, you can be pretty sure you’re close to the early shoreline.”\u003c/p>\n\u003cp>But why did the shoreline change? And how did the ships get buried there?\u003c/p>\n\u003cfigure id=\"attachment_10982521\" class=\"wp-caption aligncenter\" style=\"max-width: 3888px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982521 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg\" alt=\"The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\" width=\"3888\" height=\"2592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg 3888w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-960x640.jpg 960w\" sizes=\"(max-width: 3888px) 100vw, 3888px\">\u003cfigcaption class=\"wp-caption-text\">The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco in 1848 was a small town of a few hundred. But the discovery of gold that year had a pretty big impact. The small town became a city,” says James Delgado, a maritime archaeologist at the National Oceanic and Atmospheric Administration and author of “\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520255807\">Gold Rush Port.\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After gold was discovered, ships pregnant with people and goods poured into the Bay Area. They dropped anchor in the deeper waters offshore, somewhere below today’s Bay Bridge.\u003c/p>\n\u003cp>Once moored, many of the ships never set sail again. Some vessels had arrived to the Gold Coast in a decrepit state, the owners knowingly sending the ships to the bay on their last voyage. Other ships simply had trouble leaving once sailors caught gold fever.\u003c/p>\n\u003cfigure id=\"attachment_10982724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Clipper-California-800x500.jpg\" alt=\"An advertisement for a line of ships bringing passengers to the Gold Rush.\" width=\"800\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-800x500.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1920x1200.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1180x738.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An advertisement for a line of ships bringing passengers to the Gold Rush.\u003c/figcaption>\u003c/figure>\n\u003cp>“There were large numbers of desertions, in some cases even officers,” says Delgado.\u003c/p>\n\u003cp>The harbor became clogged as the number of ships climbed near 1,000. As the mass grew, the ships became a greater nuisance. Many of the ships had to have their rigging taken down in order to avoid entanglement with neighboring vessels. Contemporary observers often referred to it as a “forest of masts.”\u003c/p>\n\u003cp>Because the ships were stationed offshore in deep water, goods had to be slogged across half a mile of the shallow, muddy tidal flats. Merchants had to pay workers handsomely to forget about their gold fever and accept the job of a porter.\u003c/p>\n\u003cfigure id=\"attachment_10981646\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10981646 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg\" alt=\"The waterfront in 1851 (San Francisco Maritime Museum National Historical Park)\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waterfront in 1851. (Courtesy of the San Francisco Maritime Museum National Historical Park)\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, politicians devised a solution to lessen these hefty expenses: bring the shoreline closer to deep water. The city began selling water lots out in the Bay on the condition that buyers fill them in with land.\u003c/p>\n\u003cp>“In order to secure the title, you would put real property on it,” says Delgado. “You could drive pilings and build a fence around it. But the easiest, cheapest way was to do that with a ship.”\u003c/p>\n\u003cp>Land in Gold Rush-era San Francisco was incredibly valuable and people tried to secure these water lots any way they could.\u003c/p>\n\u003cp>“If you scuttled your ship, you could claim the land under it as part of your salvage,” says Richard Everett, curator of the San Francisco Maritime National Historic Park.\u003c/p>\n\u003cfigure id=\"attachment_10991294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10991294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg\" alt=\"A map of the buried ships under San Francisco.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the buried ships under San Francisco. \u003ccite>(San Francisco Maritime National Historic Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some men used this technicality to lay claim to other people’s lots. They were known as the “hulk undertakers.”\u003c/p>\n\u003cp>In the dead of night, they would sail ships over valuable lots, unplug holes drilled into the ship’s keel and \u003cem>conveniently\u003c/em> lose the vessel on the spot.\u003c/p>\n\u003cp>“There were actual open wars. One day the captain of the hulk undertakers was in the midst of giving a command when a wharf employee fired a shot at him. His mouth was open, he was yelling, and the bullet passed through one cheek and out the other, missing his tongue and his teeth. To the end of his days he wore a beard to cover those two scars on either side of his mouth,” says Delgado.\u003c/p>\n\u003cp>Besides land, San Francisco also needed buildings. Because the city grew so rapidly and lumber was expensive to mill, many of the early buildings were constructed of canvas tents. One visitor described San Francisco as a magic lantern city at night, because the tents covering the hillsides would glow from within. While this may have been picturesque, the residents wanted more permanent structures, so they turned to the ships in the harbor.\u003c/p>\n\u003cp>The junker ships were taken to “Rotten Row,” where Charles Hare and the local Chinese community systematically broke down hundreds of ships. The wood and metal were recycled into building materials.\u003c/p>\n\u003cp>About 200 of the nicer ships were easily turned into permanent structures. The majority were used as warehouses but other ships became hotels, offices, bars, counting houses, restaurants, auction halls, banks, cafes and a church. Even the city jail moved onto a ship once the old one became overcrowded and worn.\u003c/p>\n\u003cfigure id=\"attachment_10991250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10991250 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg\" alt=\"An illustration of early San Francisco where old ships were converted into buildings.\" width=\"800\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of early San Francisco, where old ships were converted into buildings. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the prisoners actually was said to have taken the door off its hinges and carried it on his back to make a show and to demand that the jailer feed him because the jailer had skipped a meal,” says Delgado.\u003c/p>\n\u003cp>As lots of water was filled and the city expanded into the Bay, many of the floating buildings found themselves surrounded by land, sitting along city streets.\u003c/p>\n\u003cp>But then there were a series of fires. The biggest blaze ripped through the city on May 4, 1851. It took out about 20 city blocks and destroyed more than a thousand buildings.\u003c/p>\n\u003cp>“That was the giant fire that took out most of the waterfront. Many of the ships burned down to their water lines,” says Everett.\u003c/p>\n\u003cfigure id=\"attachment_10982523\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982523 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg\" alt=\"A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the De Young Legion of Honor)\" width=\"796\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg 796w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865-400x282.jpg 400w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the Fine Arts Museums of San Francisco’s Permanent Collection )\u003c/figcaption>\u003c/figure>\n\u003cp>Dozens of ships stayed behind, and remain firmly anchored in what today is the Financial District or Embarcadero.\u003c/p>\n\u003cp>The city forgot about the ships. One by one, they’ve been built over. Nowadays, we barely think about the hulks lying just under our feet.\u003c/p>\n\u003cp>That is, until we have to lay a new foundation or dig a fresh tunnel.\u003c/p>\n\u003cp>In 1994, Muni was digging a light-rail tunnel beneath Justin Herman Plaza on the Embarcadero when workers hit a ship — the Rome. The vessel was so huge they literally had to tunnel through. Now, thousands of riders on J, K, L, M, N and T trains unknowingly ride through its hull every day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Representatives from local arts groups and homeless advocacy organizations delivered about 16,000 signatures to the San Francisco Elections Department on Monday. That’s considerably more than the roughly 9,500 signatures needed to qualify a ballot measure that would give the groups a bigger share of the city’s growing hotel tax fund.\u003c/p>\n\u003cp>“We are here as one big beautiful undeniable voice,” said Jon Moscone, chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>, a multi-disciplinary arts organization in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11803559\" class=\"wp-caption aligncenter\" style=\"max-width: 766px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11803559\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/036-766x600.jpg\" alt=\"Martha Ryan Executive Director of the Homeless Prenatal Program and Jon Moscone Chief of Civic Engagement for the Yerba Buena Center for the Arts\" width=\"766\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1920x1503.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-960x752.jpg 960w\" sizes=\"(max-width: 766px) 100vw, 766px\">\u003cfigcaption class=\"wp-caption-text\">Martha Ryan, executive director of the Homeless Prenatal Program and Jon Moscone, chief of civic engagement at the Yerba Buena Center for the Arts brandish pages of signatures \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort is the product of a rare coalition begun two years ago linking arts groups like the San Francisco Opera and the Asian Pacific Islander Cultural Center, with homeless organizations like the SRO United Families Collaborative, and the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a>.\u003c/p>\n\u003cp>“This measure is a statement to SF,” Martha Ryan, executive director of the Homeless Prenatal Program said before a midday rally of about 100 people on the steps of San Francisco City Hall, “We must stop the displacement and the cycle of displacement for both artists and families in the city.”\u003c/p>\n\u003cp>The measure, if it passes in November, would re-allocate a percentage of San Francisco’s hotel tax, now about $400 million, to the purpose set by supervisors in the 1970s: funding for the arts and the homeless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The measure would bump arts funding to about $58 million, and create a new “ending family homelessness fund,” of about $14.4 million.\u003c/p>\n\u003cp>“This is not just about art,” said Asian Pacific Islander Cultural Center executive director Vinay Patel. “This is about our community. This is about diversity. This is about telling the city that we’re here, and we’re staying here, and we’re not going to be pushed out.”\u003c/p>\n\u003cp>The department of elections has 30 days to verify the signatures. Because the proposal is a tax measure, it would need a two-thirds voter majority to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To read more of KQED’s coverage of this story, click \u003ca href=\"http://bettersf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Representatives from local arts groups and homeless advocacy organizations delivered about 16,000 signatures to the San Francisco Elections Department on Monday. That’s considerably more than the roughly 9,500 signatures needed to qualify a ballot measure that would give the groups a bigger share of the city’s growing hotel tax fund.\u003c/p>\n\u003cp>“We are here as one big beautiful undeniable voice,” said Jon Moscone, chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>, a multi-disciplinary arts organization in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11803559\" class=\"wp-caption aligncenter\" style=\"max-width: 766px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11803559\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/036-766x600.jpg\" alt=\"Martha Ryan Executive Director of the Homeless Prenatal Program and Jon Moscone Chief of Civic Engagement for the Yerba Buena Center for the Arts\" width=\"766\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1920x1503.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-960x752.jpg 960w\" sizes=\"(max-width: 766px) 100vw, 766px\">\u003cfigcaption class=\"wp-caption-text\">Martha Ryan, executive director of the Homeless Prenatal Program and Jon Moscone, chief of civic engagement at the Yerba Buena Center for the Arts brandish pages of signatures \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort is the product of a rare coalition begun two years ago linking arts groups like the San Francisco Opera and the Asian Pacific Islander Cultural Center, with homeless organizations like the SRO United Families Collaborative, and the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a>.\u003c/p>\n\u003cp>“This measure is a statement to SF,” Martha Ryan, executive director of the Homeless Prenatal Program said before a midday rally of about 100 people on the steps of San Francisco City Hall, “We must stop the displacement and the cycle of displacement for both artists and families in the city.”\u003c/p>\n\u003cp>The measure, if it passes in November, would re-allocate a percentage of San Francisco’s hotel tax, now about $400 million, to the purpose set by supervisors in the 1970s: funding for the arts and the homeless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The measure would bump arts funding to about $58 million, and create a new “ending family homelessness fund,” of about $14.4 million.\u003c/p>\n\u003cp>“This is not just about art,” said Asian Pacific Islander Cultural Center executive director Vinay Patel. “This is about our community. This is about diversity. This is about telling the city that we’re here, and we’re staying here, and we’re not going to be pushed out.”\u003c/p>\n\u003cp>The department of elections has 30 days to verify the signatures. Because the proposal is a tax measure, it would need a two-thirds voter majority to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To read more of KQED’s coverage of this story, click \u003ca href=\"http://bettersf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill Cosby has replaced the law firm overseeing civil litigation around the country linked to accusations he drugged and molested women.\u003c/p>\n\u003cp>Liner LLP, known for its work in entertainment law, is replacing lawyers with the powerhouse litigation firm Quinn Emanuel Urquhart & Sullivan, Cosby spokesman Andrew Wyatt confirmed Monday. Both firms are based in Los Angeles.\u003c/p>\n\u003cp>Litigation department chairwoman Angela Agrusa will now represent Cosby in the defamation and sex-assault lawsuits. Several women have sued Cosby for branding them liars in lawsuits filed in Massachusetts, Pennsylvania and California. Cosby has countersued some of them.\u003c/p>\n\u003cp>Agrusa, in a statement, said she did not want to try the cases in the media. She said Cosby “deserve(s) representation to ensure that justice does not yield to news cycles and soundbites.”\u003c/p>\n\u003cp>“Trying Mr. Cosby in a court of public opinion — as imbalanced media coverage promotes — runs directly counter to our judicial system’s most fundamental guarantees of fairness under the law,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Liner firm currently represents singer Blake Shelton in a defamation case against a celebrity magazine. The firm also defended the doctor charged with overprescribing painkillers to the late model Anna Nicole Smith.\u003c/p>\n\u003cp>Quinn Emanuel may stay involved in the criminal sex-assault case heading to trial in suburban Philadelphia, Wyatt said. The firm’s Christopher Tayback last week argued for the charges to be dismissed or for Cosby to be granted a new preliminary hearing to weigh the evidence. The trial judge denied the motion.\u003c/p>\n\u003cp>Cosby, 78, has been spending millions in an aggressive bid to stay out of prison, salvage his reputation and avoid legal judgments that could threaten his fortune.\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>Bill Cosby has replaced the law firm overseeing civil litigation around the country linked to accusations he drugged and molested women.\u003c/p>\n\u003cp>Liner LLP, known for its work in entertainment law, is replacing lawyers with the powerhouse litigation firm Quinn Emanuel Urquhart & Sullivan, Cosby spokesman Andrew Wyatt confirmed Monday. Both firms are based in Los Angeles.\u003c/p>\n\u003cp>Litigation department chairwoman Angela Agrusa will now represent Cosby in the defamation and sex-assault lawsuits. Several women have sued Cosby for branding them liars in lawsuits filed in Massachusetts, Pennsylvania and California. Cosby has countersued some of them.\u003c/p>\n\u003cp>Agrusa, in a statement, said she did not want to try the cases in the media. She said Cosby “deserve(s) representation to ensure that justice does not yield to news cycles and soundbites.”\u003c/p>\n\u003cp>“Trying Mr. Cosby in a court of public opinion — as imbalanced media coverage promotes — runs directly counter to our judicial system’s most fundamental guarantees of fairness under the law,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Liner firm currently represents singer Blake Shelton in a defamation case against a celebrity magazine. The firm also defended the doctor charged with overprescribing painkillers to the late model Anna Nicole Smith.\u003c/p>\n\u003cp>Quinn Emanuel may stay involved in the criminal sex-assault case heading to trial in suburban Philadelphia, Wyatt said. The firm’s Christopher Tayback last week argued for the charges to be dismissed or for Cosby to be granted a new preliminary hearing to weigh the evidence. The trial judge denied the motion.\u003c/p>\n\u003cp>Cosby, 78, has been spending millions in an aggressive bid to stay out of prison, salvage his reputation and avoid legal judgments that could threaten his fortune.\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": "Hitting the Road With California's Poet Laureate",
"title": "Hitting the Road With California's Poet Laureate",
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"content": "\u003cp>Dana Gioia’s latest collection, \u003ca href=\"http://www.huffingtonpost.com/pamela-feinsilber/dana-gioias-99-poems-new_b_10430364.html\">\"99 Poems,\"\u003c/a> includes poems about the California landscape, giant sequoias and the Beach Boys. Now, as California poet laureate, he’s heading on a summer tour, bringing poetry to some rural parts of the state.\u003c/p>\n\u003cp>\u003cb>California is a big state. What do you see as your mission as poet laureate?\u003c/b>\u003c/p>\n\u003cp>As poet laureate, I’m a public servant, and I represent all of California. But I think it takes some planning to get up in Calaveras County or Modoc or Humboldt or Del Norte. I’m going to try to do at least one \u003ca href=\"https://calartscouncil.wordpress.com/2016/06/03/on-the-road-with-californias-poet-laureate/\">poetry event\u003c/a> in all 58 California counties. Like most Californians, even though I was born and raised here, I’ve only seen about half the state.\u003c/p>\n\u003cp>\u003cb>What are you going to do at each stop on your tour?\u003c/b>\u003c/p>\n\u003cp>Try not to embarrass myself. Come and talk about poetry, read some poems. Feature as my part of the presentation the local high school kids who have won \u003ca href=\"http://www.poetryoutloud.org/\">Poetry Out Loud\u003c/a>, the high school poetry recitation contest. But I’m open to other ideas. The one thing I insist on is that local people be involved in the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What kind of a role can poetry play in civic life, especially in this era of Twitter and Snapchat?\u003c/b>\u003c/p>\n\u003cp>That means we need poetry all the more. Poetry is our most concise, expressive and memorable way of using speech to describe our existence. Poetry will never go entirely out of style, or lack a use, as long as we use words to communicate. The problem right now is that there’s so much media, so much entertainment, most of it pretty awful. So poetry is marginalized in the corners. But on the other hand, poetry is rather wonderful. If I were a novelist, I couldn’t read you my novel on the radio. But I can read you an entire poem.\u003c/p>\n\u003cp>\u003cb>Tell us about a California poem you’ve written.\u003c/b>\u003c/p>\n\u003cp>Years ago, I was living in New York, and I heard this fellow come back from a summer vacation in California. He said, “California was really ugly, it was all burned out. Not pretty, like Vermont.” And this irked me. About a week later, I was in California, walking through some hills, and I realized I’d been writing this poem subconsciously. It describes California the way someone from back East would see it, then the way a native would see it.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272821606\" 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\u003cblockquote>\u003cp>\n\u003cb>\"California Hills in August\"\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I can imagine someone who found\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">these fields unbearable, who climbed\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the hillside in the heat, cursing the dust,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">cracking the brittle weeds underfoot,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">wishing a few more trees for shade.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">An Easterner especially, who would scorn\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the meagerness of summer, the dry\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">twisted shapes of black elm,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">scrub oak, and chaparral, a landscape\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">August has already drained of green.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">One who would hurry over the clinging\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">thistle, foxtail, golden poppy,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">knowing everything was just a weed,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">unable to conceive that these trees\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">and sparse brown bushes were alive.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And hate the bright stillness of the noon\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">without wind, without motion,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the only other living thing\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">a hawk, hungry for prey, suspended\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">in the blinding, sunlit blue.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And yet how gentle it seems to someone\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">raised in a landscape short of rain –\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the skyline of a hill broken by no more\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">trees than one can count, the grass,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the empty sky, the wish for water.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">— Dana Gioia\u003c/span>\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>You’re a native Californian. You grew up in L.A. Your mom was Mexican-American, your dad was Italian. How did growing up around different cultures and languages influence you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was raised in this kind of sociological, linguistic babble. One side of my family spoke Sicilian. I was living in a Mexican neighborhood, which spoke Spanish. My school was in English, and when I went to church, the services were in Latin. So I learned at birth that languages are complex things, and they overlap around each other. And I think that was a kind of gift that’s guided me through life.\u003c/span>\u003c/p>\n\u003cp>\u003cb>You’ve got a pretty unconventional resume for a poet. You were the first in your family to go to college, then went to Stanford Business School. And became an executive at General Foods, where you marketed Jell-O. Then you went on to head the National Endowment for the Arts. How do you think those experiences shaped you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have an absolutely weird resume. I think it’s been good for me. Because most poets today spend pretty much their entire life in school. They go to school and then they teach school. Nothing wrong with that. But I do think it’s a kind of lost opportunity when all the poets in a society have the same job, the same life experience. So for me, working around non-literary people allowed me to understand what interests intelligent people outside of the intellectual world, what their speech is like, to hear their perspectives. The same way that growing up around essentially poor people has been a kind of wealth for me as a writer.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Do you have a favorite California poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think, without question, the greatest poet that California has produced was Robinson Jeffers. He lived in Carmel when it was still a wild, natural place. He articulated a vision of nature, of the world, that really, in some ways, helped inspire the environmental movement. He also inspired photographers like Ansel Adams and Edward Weston to photograph the California coast and help fight to preserve it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think right now we’re in a poetic renaissance in California. Los Angeles has more artists than any other city in the country. It’s an extremely interesting moment to be a California writer. California is really coming into its own on a kind of global stage.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for brevity and clarity.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dana Gioia’s latest collection, \u003ca href=\"http://www.huffingtonpost.com/pamela-feinsilber/dana-gioias-99-poems-new_b_10430364.html\">\"99 Poems,\"\u003c/a> includes poems about the California landscape, giant sequoias and the Beach Boys. Now, as California poet laureate, he’s heading on a summer tour, bringing poetry to some rural parts of the state.\u003c/p>\n\u003cp>\u003cb>California is a big state. What do you see as your mission as poet laureate?\u003c/b>\u003c/p>\n\u003cp>As poet laureate, I’m a public servant, and I represent all of California. But I think it takes some planning to get up in Calaveras County or Modoc or Humboldt or Del Norte. I’m going to try to do at least one \u003ca href=\"https://calartscouncil.wordpress.com/2016/06/03/on-the-road-with-californias-poet-laureate/\">poetry event\u003c/a> in all 58 California counties. Like most Californians, even though I was born and raised here, I’ve only seen about half the state.\u003c/p>\n\u003cp>\u003cb>What are you going to do at each stop on your tour?\u003c/b>\u003c/p>\n\u003cp>Try not to embarrass myself. Come and talk about poetry, read some poems. Feature as my part of the presentation the local high school kids who have won \u003ca href=\"http://www.poetryoutloud.org/\">Poetry Out Loud\u003c/a>, the high school poetry recitation contest. But I’m open to other ideas. The one thing I insist on is that local people be involved in the event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What kind of a role can poetry play in civic life, especially in this era of Twitter and Snapchat?\u003c/b>\u003c/p>\n\u003cp>That means we need poetry all the more. Poetry is our most concise, expressive and memorable way of using speech to describe our existence. Poetry will never go entirely out of style, or lack a use, as long as we use words to communicate. The problem right now is that there’s so much media, so much entertainment, most of it pretty awful. So poetry is marginalized in the corners. But on the other hand, poetry is rather wonderful. If I were a novelist, I couldn’t read you my novel on the radio. But I can read you an entire poem.\u003c/p>\n\u003cp>\u003cb>Tell us about a California poem you’ve written.\u003c/b>\u003c/p>\n\u003cp>Years ago, I was living in New York, and I heard this fellow come back from a summer vacation in California. He said, “California was really ugly, it was all burned out. Not pretty, like Vermont.” And this irked me. About a week later, I was in California, walking through some hills, and I realized I’d been writing this poem subconsciously. It describes California the way someone from back East would see it, then the way a native would see it.\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/272821606&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/272821606'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>\n\u003cb>\"California Hills in August\"\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I can imagine someone who found\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">these fields unbearable, who climbed\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the hillside in the heat, cursing the dust,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">cracking the brittle weeds underfoot,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">wishing a few more trees for shade.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">An Easterner especially, who would scorn\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the meagerness of summer, the dry\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">twisted shapes of black elm,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">scrub oak, and chaparral, a landscape\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">August has already drained of green.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">One who would hurry over the clinging\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">thistle, foxtail, golden poppy,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">knowing everything was just a weed,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">unable to conceive that these trees\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">and sparse brown bushes were alive.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And hate the bright stillness of the noon\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">without wind, without motion,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the only other living thing\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">a hawk, hungry for prey, suspended\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">in the blinding, sunlit blue.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And yet how gentle it seems to someone\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">raised in a landscape short of rain –\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the skyline of a hill broken by no more\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">trees than one can count, the grass,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the empty sky, the wish for water.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">— Dana Gioia\u003c/span>\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>You’re a native Californian. You grew up in L.A. Your mom was Mexican-American, your dad was Italian. How did growing up around different cultures and languages influence you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was raised in this kind of sociological, linguistic babble. One side of my family spoke Sicilian. I was living in a Mexican neighborhood, which spoke Spanish. My school was in English, and when I went to church, the services were in Latin. So I learned at birth that languages are complex things, and they overlap around each other. And I think that was a kind of gift that’s guided me through life.\u003c/span>\u003c/p>\n\u003cp>\u003cb>You’ve got a pretty unconventional resume for a poet. You were the first in your family to go to college, then went to Stanford Business School. And became an executive at General Foods, where you marketed Jell-O. Then you went on to head the National Endowment for the Arts. How do you think those experiences shaped you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have an absolutely weird resume. I think it’s been good for me. Because most poets today spend pretty much their entire life in school. They go to school and then they teach school. Nothing wrong with that. But I do think it’s a kind of lost opportunity when all the poets in a society have the same job, the same life experience. So for me, working around non-literary people allowed me to understand what interests intelligent people outside of the intellectual world, what their speech is like, to hear their perspectives. The same way that growing up around essentially poor people has been a kind of wealth for me as a writer.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Do you have a favorite California poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think, without question, the greatest poet that California has produced was Robinson Jeffers. He lived in Carmel when it was still a wild, natural place. He articulated a vision of nature, of the world, that really, in some ways, helped inspire the environmental movement. He also inspired photographers like Ansel Adams and Edward Weston to photograph the California coast and help fight to preserve it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think right now we’re in a poetic renaissance in California. Los Angeles has more artists than any other city in the country. It’s an extremely interesting moment to be a California writer. California is really coming into its own on a kind of global stage.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Inside 'The Box': New Play Explores Life in Solitary",
"title": "Inside 'The Box': New Play Explores Life in Solitary",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In the play \u003ca href=\"http://www.sarahshourd.com/opening-the-box/\">\"The Box,\"\u003c/a> a prisoner offers a soliloquy on why inmates end up in solitary confinement.\u003c/p>\n\u003cp>\"We're the guys they don't know how to deal with. We comport ourselves with a little too much dignity. The guards hate that. They put us here to break us down. Guys come in acting tough, can't bear the pressure. Things get ugly, infractions pile up, which means more time in the hole.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272821108\" 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>\"The Box,\" which opens in San Francisco July 8, starkly portrays the lives of inmates who have violent pasts but demand to be treated as human beings. The play is written by Sarah Shourd, one of the three hikers seized at the Iraq-Iran border and held in a Tehran prison. Shourd spent 410 days in solitary confinement. She was released from Iran in 2010, co-authored a book on her experiences and soon began work on the play.\u003c/p>\n\u003cp>Shourd spent several years researching the use of solitary in U.S. prisons, interviewing 75 prisoners, families and experts. She ultimately visited 12 prisoners in order to create the composite characters appearing in the play.\u003c/p>\n\u003cfigure id=\"attachment_11010436\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010436\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_cast.jpg\" alt=\"From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd. Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley, and Chris Herbie Holland.\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd.\u003cbr>Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley and Chris Herbie Holland. \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shourd says her imprisonment in Iran sank her into a deep depression. Many inmates in U.S. prisons have similar experiences\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"You have no privacy,\" said Shourd. \"So you're under complete surveillance. That is a very unnatural state that human beings are not wired for. You can't remember what your mother looks like, what an apple smells like.\"\u003c/p>\n\u003cp>While Shourd experienced life in solitary, she does come from a white, middle-income background. She faced a challenge to write authentically about working-class people of color. Hollywood and Broadway have two stereotypes about black inmates: the intimidating thug and the all-wise, Yoda-like character. It was tricky writing the part of a former Black Panther, she said.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EIj4i7dywE18lv0fef8WbgYkRHIyYSfc\"]\u003c/p>\n\u003cp>\"There was a danger of him falling into stereotype or trope of the 'magical Negro,' \" she said. \"My blind spots, I think, were caught by others and pointed out to me.\"\u003c/p>\n\u003cp>Steven Anthony Jones, a veteran of San Francisco's American Conservatory Theater, portrays the former Black Panther. He was impressed by Shourd's playwriting debut.\u003c/p>\n\u003cp>\"I found the character to be very authentic in terms of his age and his race, the two things I would be most familiar with,\" said Jones.\u003c/p>\n\u003cfigure id=\"attachment_11010437\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010437\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg\" alt='Actor Steven Anthony Jones portrays a former Black Panther in the play \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones portrays a former Black Panther in the play 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The Box\" uses soliloquies to explain conditions faced by black, white and Latino inmates. Guards and other prisoners enter the isolation pod, bringing new stories and dramatic tension.\u003c/p>\n\u003cp>Clive Worsley portrays Jake, a white supremacist who spent seven years in solitary for killing another inmate. He keeps himself isolated from the black and Latino inmates, but that changes when all the prisoners go on a statewide hunger strike as a protest against long-term solitary confinement.\u003c/p>\n\u003cp>His character \"hasn't been engaging socially,\" said Worsley.\u003c/p>\n\u003cp>After a prisoner dies in the cellblock, Worsley explained, \"that causes Jake to shift his position of isolation to one of cooperation and collaboration with these other men.\"\u003c/p>\n\u003cp>\"The Box\" doesn't romanticize the inmates or seek to justify the violent crimes that first landed them in prison.\u003c/p>\n\u003cp>\"The men in this play are not saints,\" said Shourd. \"They're flawed. They're sometimes hilarious, sometimes really disturbing and unsettling human beings.\"\u003c/p>\n\u003cfigure id=\"attachment_11010438\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"wp-image-11010438 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_trio.jpg\" alt='Actor Steven Anthony, Sarah Shourd and actor Clive Worsley at a rehearsal for \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones, Sarah Shourd and actor Clive Worsley at a rehearsal for 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The playwright and actors hope \"The Box\" will make audiences think hard about the use of long-term solitary confinement.\u003c/p>\n\u003cp>\"It's easy to convince people that we shouldn't be putting innocent people in solitary confinement or prison,\" said Shourd. \"But what are we going to do with the reality that in order to end mass incarceration, we have to deal with a lot of really violent individuals?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The Box\" plays at \u003ca href=\"http://zspace.org/guest-shows/the-box\" target=\"_blank\">San Francisco's Z Space\u003c/a> theater through the end of July.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the play \u003ca href=\"http://www.sarahshourd.com/opening-the-box/\">\"The Box,\"\u003c/a> a prisoner offers a soliloquy on why inmates end up in solitary confinement.\u003c/p>\n\u003cp>\"We're the guys they don't know how to deal with. We comport ourselves with a little too much dignity. The guards hate that. They put us here to break us down. Guys come in acting tough, can't bear the pressure. Things get ugly, infractions pile up, which means more time in the hole.\"\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/272821108&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/272821108'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"The Box,\" which opens in San Francisco July 8, starkly portrays the lives of inmates who have violent pasts but demand to be treated as human beings. The play is written by Sarah Shourd, one of the three hikers seized at the Iraq-Iran border and held in a Tehran prison. Shourd spent 410 days in solitary confinement. She was released from Iran in 2010, co-authored a book on her experiences and soon began work on the play.\u003c/p>\n\u003cp>Shourd spent several years researching the use of solitary in U.S. prisons, interviewing 75 prisoners, families and experts. She ultimately visited 12 prisoners in order to create the composite characters appearing in the play.\u003c/p>\n\u003cfigure id=\"attachment_11010436\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010436\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_cast.jpg\" alt=\"From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd. Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley, and Chris Herbie Holland.\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd.\u003cbr>Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley and Chris Herbie Holland. \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shourd says her imprisonment in Iran sank her into a deep depression. Many inmates in U.S. prisons have similar experiences\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"You have no privacy,\" said Shourd. \"So you're under complete surveillance. That is a very unnatural state that human beings are not wired for. You can't remember what your mother looks like, what an apple smells like.\"\u003c/p>\n\u003cp>While Shourd experienced life in solitary, she does come from a white, middle-income background. She faced a challenge to write authentically about working-class people of color. Hollywood and Broadway have two stereotypes about black inmates: the intimidating thug and the all-wise, Yoda-like character. It was tricky writing the part of a former Black Panther, she said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"There was a danger of him falling into stereotype or trope of the 'magical Negro,' \" she said. \"My blind spots, I think, were caught by others and pointed out to me.\"\u003c/p>\n\u003cp>Steven Anthony Jones, a veteran of San Francisco's American Conservatory Theater, portrays the former Black Panther. He was impressed by Shourd's playwriting debut.\u003c/p>\n\u003cp>\"I found the character to be very authentic in terms of his age and his race, the two things I would be most familiar with,\" said Jones.\u003c/p>\n\u003cfigure id=\"attachment_11010437\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010437\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg\" alt='Actor Steven Anthony Jones portrays a former Black Panther in the play \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones portrays a former Black Panther in the play 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The Box\" uses soliloquies to explain conditions faced by black, white and Latino inmates. Guards and other prisoners enter the isolation pod, bringing new stories and dramatic tension.\u003c/p>\n\u003cp>Clive Worsley portrays Jake, a white supremacist who spent seven years in solitary for killing another inmate. He keeps himself isolated from the black and Latino inmates, but that changes when all the prisoners go on a statewide hunger strike as a protest against long-term solitary confinement.\u003c/p>\n\u003cp>His character \"hasn't been engaging socially,\" said Worsley.\u003c/p>\n\u003cp>After a prisoner dies in the cellblock, Worsley explained, \"that causes Jake to shift his position of isolation to one of cooperation and collaboration with these other men.\"\u003c/p>\n\u003cp>\"The Box\" doesn't romanticize the inmates or seek to justify the violent crimes that first landed them in prison.\u003c/p>\n\u003cp>\"The men in this play are not saints,\" said Shourd. \"They're flawed. They're sometimes hilarious, sometimes really disturbing and unsettling human beings.\"\u003c/p>\n\u003cfigure id=\"attachment_11010438\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"wp-image-11010438 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_trio.jpg\" alt='Actor Steven Anthony, Sarah Shourd and actor Clive Worsley at a rehearsal for \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones, Sarah Shourd and actor Clive Worsley at a rehearsal for 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The playwright and actors hope \"The Box\" will make audiences think hard about the use of long-term solitary confinement.\u003c/p>\n\u003cp>\"It's easy to convince people that we shouldn't be putting innocent people in solitary confinement or prison,\" said Shourd. \"But what are we going to do with the reality that in order to end mass incarceration, we have to deal with a lot of really violent individuals?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The Box\" plays at \u003ca href=\"http://zspace.org/guest-shows/the-box\" target=\"_blank\">San Francisco's Z Space\u003c/a> theater through the end of July.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "is-l-a-losing-its-smell-future-is-uncertain-for-all-ages-punk-club",
"title": "Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club",
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"headTitle": "Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club | KQED",
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"content": "\u003cp>For kids under 18 who want to see great bands play for a few bucks, the options in Los Angeles are limited to a handful of warehouse spaces, backyards or strip mall venues. Most underground all-ages music spots never last more than a few years — a combination of rising rent prices, the challenge of getting permits and licenses, and police interventions.\u003c/p>\n\u003cp>Yet downtown L.A.’s \u003ca href=\"http://www.thesmell.org/\">The Smell\u003c/a> has been open since 1998, spawning a local music scene and launching bands like No Age, HEALTH, Abe Vigoda, Mika Miko and dozens of others. The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music, and its policy of not allowing drugs or alcohol makes it a safe hangout for teenagers.\u003c/p>\n\u003cp>“This is somewhere that kids can come and be together, and I think that’s really cool,” said Violet Romero, 19, singer and bass player of the local band Celebrity Crush.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/272821770″ 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>So it’s understandable that there was a huge outpouring of support from the local music community when news broke over Memorial Day weekend that The Smell’s owner, Jim Smith, found a demolition notice posted on the entrance to the club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The notice from L&R Group of Companies, the parking lot developer that owns Joe’s Auto Parks and WallyPark, stated that an application to demolish The Smell’s one-story building had been filed with the Los Angeles Department of Building and Safety. Other businesses on the block, including the Downtown Independent movie theater and the New Jalisco Bar, a gay Latino dive bar, also received notices.\u003c/p>\n\u003cfigure id=\"attachment_11012480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012480\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg\" alt=\"The Smell posted this photo of the demolition notice to its website.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Smell posted this photo of the demolition notice to its website. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building was purchased last year and Smith said he started to see immediate changes. His rent changed overnight from $2,375 to $4,000 a month — an increase of 68 percent.\u003c/p>\n\u003cp>“It seems like there’s a hell of a lot of parking lots on this block,” Smith said. “And I’ve never seen them full, so I just don’t know what the reason is. And it’s like, OK, great, knock down the block, you’ve got plenty of parking, but is there anything left that’s going to draw people down here that are going to want to pay for parking? In that regard, it just doesn’t make any sense.”\u003c/p>\n\u003cp>However, the property owner insists there are no plans to turn The Smell into a parking lot — or anything else.\u003c/p>\n\u003cp>“As a fellow lover of music, I appreciate the history of The Smell and its impact on the music community,” said Kevin Litwin, chief operating officer for L&R Group of Companies, in an email interview. “As of today, there are no development plans at all for this site or these buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11012529\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012529\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg\" alt=\"Volunteers take a break from taking donations at the door of The Smell.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers take a break from taking donations at the door of The Smell. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Litwin expressed regret over how Smith learned of the demolition notice. In an email sent to Smith, he wrote:\u003c/p>\n\u003cp>“We should have reached out earlier to communicate our intent to all our tenants so that they understood the process. The notice that was posted on your door last Friday was merely a formality to keep our options open. It is required to obtain a demolition permit in the event that it may be needed in the future. We support you and your message of providing a community within Los Angeles. We look forward to continuing our relationship with you. If at some time in the future we decide to develop the properties at that site, we will provide you ample time. If we’re able to help, we will.”\u003c/p>\n\u003cp>On a recent Saturday night, the alley between a parking garage and a row of brick buildings was full of young people. The show was sold out, and attendees stood outside in circles, some smoking cigarettes and others checking their phones, while they waited for the next band to start.\u003c/p>\n\u003cfigure id=\"attachment_11012482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012482 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg\" alt=\"Outside The Smell, the all-ages music venue in downtown L. A.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside The Smell, the all-ages music venue in downtown L.A. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those just arriving stood in line, then entered and handed over five bucks to a couple of volunteers at a table, who were blowing soap bubbles and eating candy in between affixing wristbands. Another volunteer sold candy bars, bags of chips and water bottles. The walls are spray-painted, and kids sat on busted-out couches or stood in clusters as the music poured out from the stage. As bands filled the small room with raucous, blistering noise, a mosh pit formed and the smell of dozens of sweaty bodies filled the air.\u003c/p>\n\u003cp>The Smell opened around the same time that another all-ages venue, Jabberjaw, closed. Many venues have closed in recent years, or have been threatened with closure. Just a week after The Smell received its demolition notice, another volunteer-run, all-ages venue 2 miles away called Pehrspace received a \u003ca href=\"http://www.laweekly.com/music/pehrspace-evicted-after-a-decade-of-joyful-noise-7009600\">60-day eviction notice\u003c/a>. Church on York, an all-ages space in Highland Park, was shut down in 2014 after being open for one year, because of noise complaints, a lack of permits and underage drinking.\u003c/p>\n\u003cp>Some of the fans of The Smell acknowledged that as rent prices increase in downtown L.A. and across the city, closures are to be expected. “It happened in New York with CBGB’s,” said Adam Weintraub, 17. “It’s kind of inevitable in any city that’s going through change and gentrification. But I think it takes away a huge part of the culture, and it just makes it another bland city. And it takes away a lot of the creative aspects of L.A.”\u003c/p>\n\u003cp>“I like to think that a good city needs an element of danger,” added Baron Rinzler, 18. “But they’re robbing us of all that goodness. Who wants to come to a city that’s gentrified, that’s full of high-rises? That takes the heart out of the city, really.”\u003c/p>\n\u003cfigure id=\"attachment_11012507\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012507 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg\" alt=\"Gina Basile, 14, and Simon Landau, 15. “It’s very rare to find a place that treats the performers well and allows all ages,” Landau said.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gina Basile, 14, and Simon Landau, 15. ‘It’s very rare to find a place that treats the performers well and allows all ages,’ Landau said. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the dislocation of some businesses may be inevitable as downtown changes. “This is an example of the mixed blessing of urban revitalization,” said Dan Rosenfeld, a real estate developer with the Trust for Public Land.\u003c/p>\n\u003cp>“Preserving these ventures is going to be difficult in a purely economic age. The value of the land has increased, rental prices have increased, to some degree the demographics have changed,” Rosenfeld said. “On the other hand, the demand for the cutting edge, for the next and the newest, will not abate. I suspect that cultural venues like The Smell will pop up in other neighborhoods.”\u003c/p>\n\u003cp>Musician Nick Rattigan agrees. His bands, Current Joys and Surf Curse, play regularly at The Smell.\u003c/p>\n\u003cp>“That’s just the nature of DIY venues,” Rattigan said. “It’s amazing that this one was open for as long as it was. Normally they get shut down in one or two years. There are still these kids in L.A. and they still want to play shows and need places to go.”\u003c/p>\n\u003cp>Smith said there are plans in the works to keep the club open, including an effort to have The Smell declared a cultural landmark. That may not save it from demolition, Smith acknowledged, but it could buy time. There are also plans to host benefit concerts and a music festival with some of the more successful bands that have played at The Smell over the years. Smith has also launched a GoFundMe page with a $1.4 million goal.\u003c/p>\n\u003cfigure id=\"attachment_11014268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg\" alt=\"The band Celebrity Crush performs inside The Smell.\" width=\"800\" height=\"512\" class=\"size-medium wp-image-11014268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Celebrity Crush performs inside The Smell. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If The Smell is forced to relocate, Smith said he hopes to find a location close to a Metro station. “Downtown is great because it’s central to transit, and we get people coming here from all over the region — the [San Fernando] Valley, South L.A., East L.A., San Gabriel Valley, Orange County — and downtown is kind of central to all of that,” Smith said.\u003c/p>\n\u003cp>Smith’s tenacity and altruism is one of the reasons The Smell has lasted this long, said David Scott Stone, a friend of Smith’s and a patron of the club since it opened. “Jim works full time, and he comes here every night to open up the space, clean the bathroom, kick kids out that are trying to sneak booze into the place,” he said, “It’s an absolute labor of love for him.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But The Smell has been through this before. It originally opened in North Hollywood in 1998. Within a couple of years, it was priced out — and moved to its current location downtown.\u003c/p>\n\n",
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"title": "Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For kids under 18 who want to see great bands play for a few bucks, the options in Los Angeles are limited to a handful of warehouse spaces, backyards or strip mall venues. Most underground all-ages music spots never last more than a few years — a combination of rising rent prices, the challenge of getting permits and licenses, and police interventions.\u003c/p>\n\u003cp>Yet downtown L.A.’s \u003ca href=\"http://www.thesmell.org/\">The Smell\u003c/a> has been open since 1998, spawning a local music scene and launching bands like No Age, HEALTH, Abe Vigoda, Mika Miko and dozens of others. The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music, and its policy of not allowing drugs or alcohol makes it a safe hangout for teenagers.\u003c/p>\n\u003cp>“This is somewhere that kids can come and be together, and I think that’s really cool,” said Violet Romero, 19, singer and bass player of the local band Celebrity Crush.\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/272821770″&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/272821770″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So it’s understandable that there was a huge outpouring of support from the local music community when news broke over Memorial Day weekend that The Smell’s owner, Jim Smith, found a demolition notice posted on the entrance to the club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The notice from L&R Group of Companies, the parking lot developer that owns Joe’s Auto Parks and WallyPark, stated that an application to demolish The Smell’s one-story building had been filed with the Los Angeles Department of Building and Safety. Other businesses on the block, including the Downtown Independent movie theater and the New Jalisco Bar, a gay Latino dive bar, also received notices.\u003c/p>\n\u003cfigure id=\"attachment_11012480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012480\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg\" alt=\"The Smell posted this photo of the demolition notice to its website.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Smell posted this photo of the demolition notice to its website. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building was purchased last year and Smith said he started to see immediate changes. His rent changed overnight from $2,375 to $4,000 a month — an increase of 68 percent.\u003c/p>\n\u003cp>“It seems like there’s a hell of a lot of parking lots on this block,” Smith said. “And I’ve never seen them full, so I just don’t know what the reason is. And it’s like, OK, great, knock down the block, you’ve got plenty of parking, but is there anything left that’s going to draw people down here that are going to want to pay for parking? In that regard, it just doesn’t make any sense.”\u003c/p>\n\u003cp>However, the property owner insists there are no plans to turn The Smell into a parking lot — or anything else.\u003c/p>\n\u003cp>“As a fellow lover of music, I appreciate the history of The Smell and its impact on the music community,” said Kevin Litwin, chief operating officer for L&R Group of Companies, in an email interview. “As of today, there are no development plans at all for this site or these buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11012529\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012529\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg\" alt=\"Volunteers take a break from taking donations at the door of The Smell.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers take a break from taking donations at the door of The Smell. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Litwin expressed regret over how Smith learned of the demolition notice. In an email sent to Smith, he wrote:\u003c/p>\n\u003cp>“We should have reached out earlier to communicate our intent to all our tenants so that they understood the process. The notice that was posted on your door last Friday was merely a formality to keep our options open. It is required to obtain a demolition permit in the event that it may be needed in the future. We support you and your message of providing a community within Los Angeles. We look forward to continuing our relationship with you. If at some time in the future we decide to develop the properties at that site, we will provide you ample time. If we’re able to help, we will.”\u003c/p>\n\u003cp>On a recent Saturday night, the alley between a parking garage and a row of brick buildings was full of young people. The show was sold out, and attendees stood outside in circles, some smoking cigarettes and others checking their phones, while they waited for the next band to start.\u003c/p>\n\u003cfigure id=\"attachment_11012482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012482 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg\" alt=\"Outside The Smell, the all-ages music venue in downtown L. A.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside The Smell, the all-ages music venue in downtown L.A. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those just arriving stood in line, then entered and handed over five bucks to a couple of volunteers at a table, who were blowing soap bubbles and eating candy in between affixing wristbands. Another volunteer sold candy bars, bags of chips and water bottles. The walls are spray-painted, and kids sat on busted-out couches or stood in clusters as the music poured out from the stage. As bands filled the small room with raucous, blistering noise, a mosh pit formed and the smell of dozens of sweaty bodies filled the air.\u003c/p>\n\u003cp>The Smell opened around the same time that another all-ages venue, Jabberjaw, closed. Many venues have closed in recent years, or have been threatened with closure. Just a week after The Smell received its demolition notice, another volunteer-run, all-ages venue 2 miles away called Pehrspace received a \u003ca href=\"http://www.laweekly.com/music/pehrspace-evicted-after-a-decade-of-joyful-noise-7009600\">60-day eviction notice\u003c/a>. Church on York, an all-ages space in Highland Park, was shut down in 2014 after being open for one year, because of noise complaints, a lack of permits and underage drinking.\u003c/p>\n\u003cp>Some of the fans of The Smell acknowledged that as rent prices increase in downtown L.A. and across the city, closures are to be expected. “It happened in New York with CBGB’s,” said Adam Weintraub, 17. “It’s kind of inevitable in any city that’s going through change and gentrification. But I think it takes away a huge part of the culture, and it just makes it another bland city. And it takes away a lot of the creative aspects of L.A.”\u003c/p>\n\u003cp>“I like to think that a good city needs an element of danger,” added Baron Rinzler, 18. “But they’re robbing us of all that goodness. Who wants to come to a city that’s gentrified, that’s full of high-rises? That takes the heart out of the city, really.”\u003c/p>\n\u003cfigure id=\"attachment_11012507\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012507 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg\" alt=\"Gina Basile, 14, and Simon Landau, 15. “It’s very rare to find a place that treats the performers well and allows all ages,” Landau said.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gina Basile, 14, and Simon Landau, 15. ‘It’s very rare to find a place that treats the performers well and allows all ages,’ Landau said. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the dislocation of some businesses may be inevitable as downtown changes. “This is an example of the mixed blessing of urban revitalization,” said Dan Rosenfeld, a real estate developer with the Trust for Public Land.\u003c/p>\n\u003cp>“Preserving these ventures is going to be difficult in a purely economic age. The value of the land has increased, rental prices have increased, to some degree the demographics have changed,” Rosenfeld said. “On the other hand, the demand for the cutting edge, for the next and the newest, will not abate. I suspect that cultural venues like The Smell will pop up in other neighborhoods.”\u003c/p>\n\u003cp>Musician Nick Rattigan agrees. His bands, Current Joys and Surf Curse, play regularly at The Smell.\u003c/p>\n\u003cp>“That’s just the nature of DIY venues,” Rattigan said. “It’s amazing that this one was open for as long as it was. Normally they get shut down in one or two years. There are still these kids in L.A. and they still want to play shows and need places to go.”\u003c/p>\n\u003cp>Smith said there are plans in the works to keep the club open, including an effort to have The Smell declared a cultural landmark. That may not save it from demolition, Smith acknowledged, but it could buy time. There are also plans to host benefit concerts and a music festival with some of the more successful bands that have played at The Smell over the years. Smith has also launched a GoFundMe page with a $1.4 million goal.\u003c/p>\n\u003cfigure id=\"attachment_11014268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg\" alt=\"The band Celebrity Crush performs inside The Smell.\" width=\"800\" height=\"512\" class=\"size-medium wp-image-11014268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Celebrity Crush performs inside The Smell. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If The Smell is forced to relocate, Smith said he hopes to find a location close to a Metro station. “Downtown is great because it’s central to transit, and we get people coming here from all over the region — the [San Fernando] Valley, South L.A., East L.A., San Gabriel Valley, Orange County — and downtown is kind of central to all of that,” Smith said.\u003c/p>\n\u003cp>Smith’s tenacity and altruism is one of the reasons The Smell has lasted this long, said David Scott Stone, a friend of Smith’s and a patron of the club since it opened. “Jim works full time, and he comes here every night to open up the space, clean the bathroom, kick kids out that are trying to sneak booze into the place,” he said, “It’s an absolute labor of love for him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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