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"content": "\u003cp>San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/index.php\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> has been told by its landlord that it will not be given a long-term lease for the space it’s occupied in the Mission District for over 43 years, gallery representatives announced Thursday.\u003c/p>\n\u003cp>Galería’s Executive Director Ani Rivera sent a mass email to its supporters Thursday stating that after more than a year of talks, the owners of the gallery space on 24th street and Bryant have refused to change their current month-to-month arrangement.\u003c/p>\n\u003cp>“Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a ‘place keeping’ process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades,” Rivera wrote. “However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.” \u003c/p>\n\u003cp>Founded in 1970 by a group of Chicano artists and community activists, Galería has been a cultural focal point in the Mission District ever since it began. But now as the identity of the neighborhood changes due to the influx of new, wealthier residents, Rivera says she’s concerned that it will become more difficult to keep around. \u003c/p>\n\u003cp>“Galeria for many in the community is a safe space, and it’s also at the verge of going under,” Rivera said in an earlier interview with KQED Arts. “So I am in a constant mourning, I am in a constant action, trying to figure out how to protect, how to sustain, and this incidents of violence that get inflict upon us. We constantly walk with a warrior shields.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gallery was in the news last year after its mural depicting three versions of LGBTQ “Cholo” culture was vandalized on \u003ca href=\"https://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\" target=\"_blank\" rel=\"noopener\">multiple occasions\u003c/a>. The defacing of the mural led to an outcry from the local community, \u003ca href=\"http://ww2.kqed.org/arts/2015/07/02/mission-residents-unite-over-defaced-lgbtq-mural/\" target=\"_blank\" rel=\"noopener\">who rallied in support \u003c/a>of the gallery and its work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read Riveras letter below:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>\nDear Community Partners,\u003cbr>\nWe want to personally thank you for your continued support of Galería de la Raza (Galería) as we pursued a long-term lease with our current landlord. This undertaking was a culmination of over a year and a half of planning conducted through advocacy and planning with various groups on this issue, including the Office of Economic and Workforce Development (OEWD), the Northern California Community Loan Fund (NCCLF), and the Central Arts Stabilization Trust (CAST), among others. \u003c/p>\n\u003cp>As many of you know, Galería has been operating out of its current location for the last 43 years without a long-term lease in place. Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a “place keeping” process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades. \u003c/p>\n\u003cp>However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.\u003cbr>\nWhile this decision is disappointing, it has made us realize we need to look at developing other long-term sustainable options. With the support of our board, we will begin looking at other locations within the Mission district that can offer a more secure future for the Galería to continue its legacy.\u003c/p>\n\u003cp>That being said, we want to reach out for your support and input on what could be next for Galería. In the coming weeks, we will be reaching out to you individually to set up meetings to discuss our next steps. We hope you are willing to join the conversation as we explore new opportunities and together find new ideas for the future! \u003c/p>\n\u003cp>Once again on behalf of Galería’s Board & Staff, I would like to sincerely thank you!\u003c/p>\n\u003cp>Best,\u003cbr>\nAni Rivera\n\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/index.php\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> has been told by its landlord that it will not be given a long-term lease for the space it’s occupied in the Mission District for over 43 years, gallery representatives announced Thursday.\u003c/p>\n\u003cp>Galería’s Executive Director Ani Rivera sent a mass email to its supporters Thursday stating that after more than a year of talks, the owners of the gallery space on 24th street and Bryant have refused to change their current month-to-month arrangement.\u003c/p>\n\u003cp>“Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a ‘place keeping’ process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades,” Rivera wrote. “However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.” \u003c/p>\n\u003cp>Founded in 1970 by a group of Chicano artists and community activists, Galería has been a cultural focal point in the Mission District ever since it began. But now as the identity of the neighborhood changes due to the influx of new, wealthier residents, Rivera says she’s concerned that it will become more difficult to keep around. \u003c/p>\n\u003cp>“Galeria for many in the community is a safe space, and it’s also at the verge of going under,” Rivera said in an earlier interview with KQED Arts. “So I am in a constant mourning, I am in a constant action, trying to figure out how to protect, how to sustain, and this incidents of violence that get inflict upon us. We constantly walk with a warrior shields.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gallery was in the news last year after its mural depicting three versions of LGBTQ “Cholo” culture was vandalized on \u003ca href=\"https://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\" target=\"_blank\" rel=\"noopener\">multiple occasions\u003c/a>. The defacing of the mural led to an outcry from the local community, \u003ca href=\"http://ww2.kqed.org/arts/2015/07/02/mission-residents-unite-over-defaced-lgbtq-mural/\" target=\"_blank\" rel=\"noopener\">who rallied in support \u003c/a>of the gallery and its work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read Riveras letter below:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>\nDear Community Partners,\u003cbr>\nWe want to personally thank you for your continued support of Galería de la Raza (Galería) as we pursued a long-term lease with our current landlord. This undertaking was a culmination of over a year and a half of planning conducted through advocacy and planning with various groups on this issue, including the Office of Economic and Workforce Development (OEWD), the Northern California Community Loan Fund (NCCLF), and the Central Arts Stabilization Trust (CAST), among others. \u003c/p>\n\u003cp>As many of you know, Galería has been operating out of its current location for the last 43 years without a long-term lease in place. Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a “place keeping” process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades. \u003c/p>\n\u003cp>However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.\u003cbr>\nWhile this decision is disappointing, it has made us realize we need to look at developing other long-term sustainable options. With the support of our board, we will begin looking at other locations within the Mission district that can offer a more secure future for the Galería to continue its legacy.\u003c/p>\n\u003cp>That being said, we want to reach out for your support and input on what could be next for Galería. In the coming weeks, we will be reaching out to you individually to set up meetings to discuss our next steps. We hope you are willing to join the conversation as we explore new opportunities and together find new ideas for the future! \u003c/p>\n\u003cp>Once again on behalf of Galería’s Board & Staff, I would like to sincerely thank you!\u003c/p>\n\u003cp>Best,\u003cbr>\nAni Rivera\n\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The past three days have been brutal ones in the United States of America, and it's no secret that people are hurting. We want action, visible change, in times like these -- and if we can't take to the streets ourselves, we want to see people we respect and look up to taking a stance, using their platforms to voice protest in a way that feels like they're speaking on our behalf.\u003c/p>\n\u003cp>For better or worse, for many people, the public figures hitting those marks this week are entertainers. Here are a few of their responses.\u003c/p>\n\u003cp>\u003cstrong>Snoop Dogg\u003c/strong> and \u003cstrong>The Game\u003c/strong> did actually \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-game-snoop-dogg-protest-lapd-20160708-snap-htmlstory.html\" target=\"_blank\">take to the streets\u003c/a> this morning, leading what the \u003cem>LA Times\u003c/em> called a \"unification march for men of color\" to LAPD's graduation ceremony for its newest officers. On Instagram, The Game called it an attempt to \"make the Californian government and it’s law branches aware that from today forward, we will be UNIFIED as minorities & we will no longer allow them to hunt us or be hunted by us !!!\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It culminated in a press conference with city government and LAPD Police Chief Charlie Beck, which you should watch below.\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/EDCN67NQ5Ag'\n title='//www.youtube.com/embed/EDCN67NQ5Ag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The rappers join a growing legion of music's heavy-hitters who responded to the week's violence on social media and through song.\u003c/p>\n\u003cp>Queen \u003cstrong>Beyoncé \u003c/strong>posted a \u003ca href=\"http://www.beyonce.com/\" target=\"_blank\">powerful missive to her website\u003c/a> July 7, reading, in part, \"We don't need sympathy. We need everyone to respect our lives.\" The message encouraged readers to click through to contact their representatives in Congress to protest the killings of Alton Sterling and Philando Castile.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>A judge on Thursday denied Bill Cosby’s bid to force his sex-assault accuser to testify before trial, ruling prosecutors worked within the law by using police statements as a stand-in for her at his preliminary hearing.\u003c/p>\n\u003cp>Cosby’s lawyers argued they should’ve been allowed to cross-examine accuser Andrea Constand at the May 24 hearing because her decade-old statements about the 2004 encounter raised more questions than it answered.\u003c/p>\n\u003cp>But Judge Steven T. O’Neill said that a 2013 change in state court rules cleared the way for prosecutors to use those statements and other evidence in lieu of forcing Constand to take the witness stand before trial.\u003c/p>\n\u003cp>Prosecutors applauded the judge’s decision.\u003c/p>\n\u003cp>“The defense operated around a mistaken belief that they had a right to confront the victim at this stage,” District Attorney Kevin Steele told reporters afterward. “They do not.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby’s lawyers said they’d appeal to the state Supreme Court, which is considering another case involving preliminary hearing testimony. They said the 78-year-old Cosby’s constitutional rights had been “trampled upon once again.”\u003c/p>\n\u003cp>The judge, as he ruled, said, “One side sees this as an efficient way to handle cases. The other sees it as a violation of due process.”\u003c/p>\n\u003cp>He seconded the findings of the judge in Cosby’s preliminary hearing, saying prosecutors had presented enough evidence to send the case to trial.\u003c/p>\n\u003cp>Cosby is charged with felony indecent assault and accused of drugging and molesting Constand at his suburban Philadelphia home.\u003c/p>\n\u003cp>Authorities reopened the case last year after learning he had acknowledged in a deposition that he had given Constand pills and then engaged in sex acts with her. They also considered the dozens of other women who have raised similar claims in the decade since Constand went to police in 2005.\u003c/p>\n\u003cp>“Justice has been delayed too long,” Steele said, adding: “If I was able to, I’d pick a jury tomorrow.”\u003c/p>\n\u003cp>Steele read excerpts from Cosby’s deposition in court and said his graphic description of the encounter shows “consciousness of guilt.”\u003c/p>\n\u003cp>Constand told police the drugs left her semiconscious and unable to move and her lawyers believe Cosby gave her something stronger than Benadryl.\u003c/p>\n\u003cp>Steele compared Cosby’s behavior with that of a date rapist who spikes a victim’s drink.\u003c/p>\n\u003cp>“She is not in a state that she is able to consent to any of this,” Steele said in court.\u003c/p>\n\u003cp>Cosby rubbed his hand on his face and leaned back in his chair, lightly rapping his wooden cane against the carpet as the hearing wore on. He chatted with an aide as he departed.\u003c/p>\n\u003cp>The man once known as America’s Dad for his beloved portrayal of Dr. Cliff Huxtable on his top-ranked 1980s TV show is fighting Constand and other accusers in civil court, where he has been sued for defamation.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\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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"title": "Judge: Cosby's Accuser Doesn't Have to Testify Before Trial | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A judge on Thursday denied Bill Cosby’s bid to force his sex-assault accuser to testify before trial, ruling prosecutors worked within the law by using police statements as a stand-in for her at his preliminary hearing.\u003c/p>\n\u003cp>Cosby’s lawyers argued they should’ve been allowed to cross-examine accuser Andrea Constand at the May 24 hearing because her decade-old statements about the 2004 encounter raised more questions than it answered.\u003c/p>\n\u003cp>But Judge Steven T. O’Neill said that a 2013 change in state court rules cleared the way for prosecutors to use those statements and other evidence in lieu of forcing Constand to take the witness stand before trial.\u003c/p>\n\u003cp>Prosecutors applauded the judge’s decision.\u003c/p>\n\u003cp>“The defense operated around a mistaken belief that they had a right to confront the victim at this stage,” District Attorney Kevin Steele told reporters afterward. “They do not.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby’s lawyers said they’d appeal to the state Supreme Court, which is considering another case involving preliminary hearing testimony. They said the 78-year-old Cosby’s constitutional rights had been “trampled upon once again.”\u003c/p>\n\u003cp>The judge, as he ruled, said, “One side sees this as an efficient way to handle cases. The other sees it as a violation of due process.”\u003c/p>\n\u003cp>He seconded the findings of the judge in Cosby’s preliminary hearing, saying prosecutors had presented enough evidence to send the case to trial.\u003c/p>\n\u003cp>Cosby is charged with felony indecent assault and accused of drugging and molesting Constand at his suburban Philadelphia home.\u003c/p>\n\u003cp>Authorities reopened the case last year after learning he had acknowledged in a deposition that he had given Constand pills and then engaged in sex acts with her. They also considered the dozens of other women who have raised similar claims in the decade since Constand went to police in 2005.\u003c/p>\n\u003cp>“Justice has been delayed too long,” Steele said, adding: “If I was able to, I’d pick a jury tomorrow.”\u003c/p>\n\u003cp>Steele read excerpts from Cosby’s deposition in court and said his graphic description of the encounter shows “consciousness of guilt.”\u003c/p>\n\u003cp>Constand told police the drugs left her semiconscious and unable to move and her lawyers believe Cosby gave her something stronger than Benadryl.\u003c/p>\n\u003cp>Steele compared Cosby’s behavior with that of a date rapist who spikes a victim’s drink.\u003c/p>\n\u003cp>“She is not in a state that she is able to consent to any of this,” Steele said in court.\u003c/p>\n\u003cp>Cosby rubbed his hand on his face and leaned back in his chair, lightly rapping his wooden cane against the carpet as the hearing wore on. He chatted with an aide as he departed.\u003c/p>\n\u003cp>The man once known as America’s Dad for his beloved portrayal of Dr. Cliff Huxtable on his top-ranked 1980s TV show is fighting Constand and other accusers in civil court, where he has been sued for defamation.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Spanish Surrealist Salvador Dalí the New Toast of Monterey",
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"content": "\u003cp>The largest collection of works by Salvador Dalí on the West Coast opened to the public on Thursday. More than 570 etchings, lithographs, sculptures and tapestries essentially took over the Museum of Monterey, and the building received a new name: \u003ca href=\"http://www.dali17.com\" target=\"_blank\" rel=\"noopener\">Dali17\u003c/a>, a reference to the original 17-mile drive that once began at Hotel Del Monte, where Dalí stayed for a time.\u003c/p>\n\u003cp>[contextly_sidebar id=”kwXXlW8EQarNymujeZVZy6OJBge9Rsq0″]\u003c/p>\n\u003cp>The Spanish Surrealist spent much of the 1940s avoiding World War II and its aftermath in Monterey and Pebble Beach, but until now, his Central Coast sojourn was an unheralded footnote in a region packed with other tourist draws.\u003c/p>\n\u003cp>Why is this happening? Ukranian-born real estate developer Dmitry Piterman fell in love with Dalí \u003ca href=\"http://ww2.kqed.org/arts/2016/03/11/dali-in-monterey-alchemy-of-a-museum-makeover/\" target=\"_blank\" rel=\"noopener\">as a college student\u003c/a>, and amassed a collection he wants to share with the rest of the world.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/272592000″ 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>“He was a radical, in the sense that he always went against the norm, against the establishment, against thinking in the box,” says Piterman, who also admires the way Dalí continued to educate himself over the course of his lifetime about psychology.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dreams played a big part in his life, and a huge part in his work. He believed that if you could tap in to your subconscious mind, the art you create is much more pure, much more vivid, much more uncensored.”\u003c/p>\n\u003cfigure id=\"attachment_11774479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11774479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-768x433.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A Cal grad, Piterman talked with UC Berkeley officials about housing his collection there, but backed away when it became clear much of that collection would not be openly exhibited. “They can’t create one museum dedicated to one artist. They have different priorities,” Piterman says. “So there would have been some kind of rotation, and a lot of art in storage. They showed me the storage, and the storage was much larger than the museum.”\u003c/p>\n\u003cp>In contrast, his collection takes up the majority of the Museum of Monterey, aside from a token historical exhibit in the former museum store.\u003c/p>\n\u003cp>Surrealism may no longer be in vogue, but Dalí’s techni-color art work has more chance of a drawing a crowd than what used to fill the museum run by the \u003ca href=\"http://museumofmonterey.org/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a> at the foot of Fisherman’s Wharf. President Larry Chavez says the museum operated at a loss in recent years, as public interest in its maritime collection faded. In an attempt to engage the local community, the Association put out a call for new ideas to attract visitors.\u003c/p>\n\u003cp>“We’ve been in existence since the 1930s,” Chavez says. “Our membership is getting a little older, and this is going to be a kick starter to get new people involved.” The Association, he adds, can devote more attention now to some of its other priorities, like raising money to restore and maintain the region’s famous adobes.\u003c/p>\n\u003cfigure id=\"attachment_11777006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11777006 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg\" alt=\"Gorgeous, hand-carved ship models like this one reflect the region's maritime history, but they weren't driving much foot traffic into the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gorgeous, hand-carved ship models like this one reflect the region’s maritime history, but they weren’t driving much foot traffic into the Museum of Monterey. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is not a casual art investor. He lived in Spain for the better part of a decade where he exhibited his collection in Spain and Belgium.\u003c/p>\n\u003cp>He can speak with great detail about Dalí’s “paranoiac-critical method,” to use the artist’s own words. “Some of the brushes he used had only one hair,” Piterman says. “So imagine the meticulousness with which he painted and created his art. That’s when jokester Dalí kind of disappeared. But burning giraffes and elephants on their frail little legs, all that is part of his work and part of kind of the provoking Dalí.”\u003c/p>\n\u003cp>Dalí was a fixture on the local art scene in the 1940s, but here as elsewhere, his outrageous eccentricities made more of a splash than his art did. Nearly everyone remembers his curlicue mustache, as much as they do “The Persistence of Memory,” his painting with the melting clocks.\u003c/p>\n\u003cfigure id=\"attachment_11774472\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali17_logo_final_300dpi-1.jpg\" alt=\"The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17,\" width=\"250\" height=\"169\">\u003cfigcaption class=\"wp-caption-text\">The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17, \u003ccite>(Photo: Courtesy of Dali17)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has free reign to design the presentation along with curator Hillary Roberts. Her task is a formidable one: to provide context for a wide range of visitors who made not be that familiar with the huge range of work Dalí put out over the course of his lifetime. He wasn’t just obsessed with Sigmund Freud and dreams, but also Spanish history and Catholicism. “Ours is a very large collection,” she says “You could imagine wanting to spend days here.”\u003c/p>\n\u003cp>“Dalí was classically trained, and learned in the style of Rafael and Valasquez,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. What you see looking at his body of work is traditional training bent to the service of Dalí’s “crazy Freudian, 20th century sense of the ridiculous.”\u003c/p>\n\u003cp>Dalí17 doesn’t compete with the museum the artist founded in \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">Figueres\u003c/a>, (in the artist’s hometown in Spain), but it stands with that one, and the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida, as a temple to the artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dalí17 will stay at the Museum of Monterey permanently. Piterman says he hopes to add to the collection, and host visiting Dalí exhibitions, as well as historic photos of Dalí’s time on the Peninsula. Perhaps most provocatively, he promises to stage Surrealist dinners that shock and delight the way the artist himself did back in the day.\u003c/p>\n\u003cfigure id=\"attachment_11774473\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774473 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg\" alt='\"Lima de los Dientes,\" an etching from \"Les Caprices De Goya De Salvador Dalí.\" For many people, this is not what they imagine when they imagine Dalí.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut.jpg 1200w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Lima de los Dientes,” an etching from “Les Caprices De Goya De Salvador Dalí.” For many people, this is not what they imagine when they imagine Dalí. \u003ccite>(Photo: Courtesy of Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The largest collection of works by Salvador Dalí on the West Coast opened to the public on Thursday. More than 570 etchings, lithographs, sculptures and tapestries essentially took over the Museum of Monterey, and the building received a new name: \u003ca href=\"http://www.dali17.com\" target=\"_blank\" rel=\"noopener\">Dali17\u003c/a>, a reference to the original 17-mile drive that once began at Hotel Del Monte, where Dalí stayed for a time.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Spanish Surrealist spent much of the 1940s avoiding World War II and its aftermath in Monterey and Pebble Beach, but until now, his Central Coast sojourn was an unheralded footnote in a region packed with other tourist draws.\u003c/p>\n\u003cp>Why is this happening? Ukranian-born real estate developer Dmitry Piterman fell in love with Dalí \u003ca href=\"http://ww2.kqed.org/arts/2016/03/11/dali-in-monterey-alchemy-of-a-museum-makeover/\" target=\"_blank\" rel=\"noopener\">as a college student\u003c/a>, and amassed a collection he wants to share with the rest of the world.\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/272592000″&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/272592000″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“He was a radical, in the sense that he always went against the norm, against the establishment, against thinking in the box,” says Piterman, who also admires the way Dalí continued to educate himself over the course of his lifetime about psychology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dreams played a big part in his life, and a huge part in his work. He believed that if you could tap in to your subconscious mind, the art you create is much more pure, much more vivid, much more uncensored.”\u003c/p>\n\u003cfigure id=\"attachment_11774479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11774479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-768x433.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A Cal grad, Piterman talked with UC Berkeley officials about housing his collection there, but backed away when it became clear much of that collection would not be openly exhibited. “They can’t create one museum dedicated to one artist. They have different priorities,” Piterman says. “So there would have been some kind of rotation, and a lot of art in storage. They showed me the storage, and the storage was much larger than the museum.”\u003c/p>\n\u003cp>In contrast, his collection takes up the majority of the Museum of Monterey, aside from a token historical exhibit in the former museum store.\u003c/p>\n\u003cp>Surrealism may no longer be in vogue, but Dalí’s techni-color art work has more chance of a drawing a crowd than what used to fill the museum run by the \u003ca href=\"http://museumofmonterey.org/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a> at the foot of Fisherman’s Wharf. President Larry Chavez says the museum operated at a loss in recent years, as public interest in its maritime collection faded. In an attempt to engage the local community, the Association put out a call for new ideas to attract visitors.\u003c/p>\n\u003cp>“We’ve been in existence since the 1930s,” Chavez says. “Our membership is getting a little older, and this is going to be a kick starter to get new people involved.” The Association, he adds, can devote more attention now to some of its other priorities, like raising money to restore and maintain the region’s famous adobes.\u003c/p>\n\u003cfigure id=\"attachment_11777006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11777006 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg\" alt=\"Gorgeous, hand-carved ship models like this one reflect the region's maritime history, but they weren't driving much foot traffic into the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gorgeous, hand-carved ship models like this one reflect the region’s maritime history, but they weren’t driving much foot traffic into the Museum of Monterey. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is not a casual art investor. He lived in Spain for the better part of a decade where he exhibited his collection in Spain and Belgium.\u003c/p>\n\u003cp>He can speak with great detail about Dalí’s “paranoiac-critical method,” to use the artist’s own words. “Some of the brushes he used had only one hair,” Piterman says. “So imagine the meticulousness with which he painted and created his art. That’s when jokester Dalí kind of disappeared. But burning giraffes and elephants on their frail little legs, all that is part of his work and part of kind of the provoking Dalí.”\u003c/p>\n\u003cp>Dalí was a fixture on the local art scene in the 1940s, but here as elsewhere, his outrageous eccentricities made more of a splash than his art did. Nearly everyone remembers his curlicue mustache, as much as they do “The Persistence of Memory,” his painting with the melting clocks.\u003c/p>\n\u003cfigure id=\"attachment_11774472\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali17_logo_final_300dpi-1.jpg\" alt=\"The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17,\" width=\"250\" height=\"169\">\u003cfigcaption class=\"wp-caption-text\">The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17, \u003ccite>(Photo: Courtesy of Dali17)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has free reign to design the presentation along with curator Hillary Roberts. Her task is a formidable one: to provide context for a wide range of visitors who made not be that familiar with the huge range of work Dalí put out over the course of his lifetime. He wasn’t just obsessed with Sigmund Freud and dreams, but also Spanish history and Catholicism. “Ours is a very large collection,” she says “You could imagine wanting to spend days here.”\u003c/p>\n\u003cp>“Dalí was classically trained, and learned in the style of Rafael and Valasquez,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. What you see looking at his body of work is traditional training bent to the service of Dalí’s “crazy Freudian, 20th century sense of the ridiculous.”\u003c/p>\n\u003cp>Dalí17 doesn’t compete with the museum the artist founded in \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">Figueres\u003c/a>, (in the artist’s hometown in Spain), but it stands with that one, and the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida, as a temple to the artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dalí17 will stay at the Museum of Monterey permanently. Piterman says he hopes to add to the collection, and host visiting Dalí exhibitions, as well as historic photos of Dalí’s time on the Peninsula. Perhaps most provocatively, he promises to stage Surrealist dinners that shock and delight the way the artist himself did back in the day.\u003c/p>\n\u003cfigure id=\"attachment_11774473\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774473 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg\" alt='\"Lima de los Dientes,\" an etching from \"Les Caprices De Goya De Salvador Dalí.\" For many people, this is not what they imagine when they imagine Dalí.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut.jpg 1200w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Lima de los Dientes,” an etching from “Les Caprices De Goya De Salvador Dalí.” For many people, this is not what they imagine when they imagine Dalí. \u003ccite>(Photo: Courtesy of Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>ALBUQUERQUE, N.M. — It was called the “Mother Road,” a vital highway bridging Chicago and Los Angeles through the Southwest amid diners and neon-lit motels. For many, Route 66 represented freedom and unlimited possibilities in 20th century United States.\u003c/p>\n\u003cfigure>\u003cfigcaption>The 1956 edition of “The Negro Travelers’ Green Book .” \u003ccite>(New York \u003ca href=\"http://ww2.kqed.org/news/2016/07/07/route-66-the-green-book-black-travelers\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/07/07/route-66-the-green-book-black-travelers\" target=\"_blank\" title=\"Preserving the Legacy of a Route 66 That Was Strewn With Jim Crow Pitfalls\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003c/cite>\u003c/figcaption>\u003c/figure>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The band that helped catapult Prince to international superstardom is reuniting in his memory.\u003c/p>\n\u003cp>The Revolution, which backed up Prince in the 1980s, will play two shows Sept. 2-3 at First Avenue, the downtown Minneapolis nightclub where Prince and the Revolution filmed \u003cem>Purple Rain\u003c/em>.\u003c/p>\n\u003cp>The Revolution said Wednesday that they and the world mourned Prince “with profound loss and apocalyptic grief” after learning of his death in April.\u003c/p>\n\u003cp>The shows will feature Wendy Melvoin, Lisa Coleman, Brownmark, Dr. Fink, and Bobby Z, with special guests Dez Dickerson and Andre Cymone, who were Prince’s sidemen early in his career.\u003c/p>\n\u003cp>The Revolution disbanded in 1986 but reunited for a few shows without Prince, including a 2012 benefit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets go on sale Friday, with a presale Thursday through a Minnesota Public Radio station.\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": "\u003cp>A Manhattan street corner will be temporarily named for longtime fashion photographer Bill Cunningham, who died last month.\u003c/p>\n\u003cp>Cunningham, who took pictures of everyday people on the streets of New York for the \u003cem>New York Times\u003c/em>, died June 25 at age 87.\u003c/p>\n\u003cp>City officials on Wednesday are renaming the northeast corner of 57th Street and Fifth Avenue “Bill Cunningham Corner.”\u003c/p>\n\u003cp>The renaming will last through next Wednesday. Mayor Bill de Blasio has the power to rename a street for a few days but permanent renaming must go through a legislative process. The city hopes to find a more lasting way to honor Cunningham.\u003c/p>\n\u003cp>The mayor says Cunningham’s photos captured the “city’s diversity in every sense of the word, and helped define New York as the fashion capital of the world.”\u003c/p>\n\u003cp>[ad fullwidth]\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": "\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hidden Gems: The Lost City of Cecil B. DeMille",
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"content": "\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272173719\" 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>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\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/272173719&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/272173719'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hidden Gems: The Church of 8 Wheels",
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"content": "\u003cp>\u003cem>This story was originally published in November 2016 as part of The California Report Magazine's \"\u003ca href=\"https://www.kqed.org/news/tag/hidden-gems\">Hidden Gems\u003c/a>\" series. It re-aired on July 3rd, 2020 for a special show called \"Buckle Up: A (Virtual) Road Trip to CA Hidden Gems.\" Note: The indoor rink is closed due to shelter-in-place orders, but the Church of 8 Wheels is holding outdoor skating events — including a socially distanced disco party in San Francisco’s Golden Gate Park, every Friday night.\u003c/em>\u003c/p>\n\u003cp>Daniel Albert climbs a dusty church tower, lifts his arms above his head and grabs hold of a rope that comes from a hole in the ceiling. As he pulls it, the church bell on the other end chimes and resonates across this central San Francisco neighborhood. It’s 7 o’clock on a Friday night.\u003c/p>\n\u003cp>Then the music begins. But instead of hearing hymns, I hear disco. That’s because I’m at the \u003ca href=\"http://www.churchof8wheels.com/\">Church of 8 Wheels\u003c/a>. It’s a roller disco in a 120-year-old former Catholic church, just blocks from San Francisco’s famous Painted Lady rowhouses at Alamo Square. Albert is the operations manager, but he doubles as a rollerblading sensation. If you’ve been to this church, on Fillmore at Fell, you’ll know him as the guy with metallic reflective wings.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272358511\" 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>In the expansive space, old pews are pushed against the walls and lights reflect off a disco ball and onto the ceiling murals. David G. Miles Jr., known as the “Godfather of Skate,” proselytizes. “I am your roller disco minister,” he says. “I mean, it’s the Church of 8 Wheels, and as the godfather it’s my responsibility to spread rolligion everywhere I go.”\u003c/p>\n\u003cfigure id=\"attachment_11002592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002592\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg\" alt=\"A typical night at the Church of 8 Wheels.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical night at the Church of 8 Wheels. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That's right. \u003cem>Roll\u003c/em>igion.\u003c/p>\n\u003cp>The Church of 8 Wheels is Miles’ brainchild.\u003c/p>\n\u003cp>He moved to San Francisco in 1979. “I started skating in Golden Gate Park on my third or fourth day in San Francisco,” he says. “When I went out there I saw four people go by on roller skates and I was like, ‘Wow! They do that here?! I can do that.’ I went and got a pair of skates.” [ad fullwidth]\u003c/p>\n\u003cp>He met his wife in the park, and later their kids learned to skate just after they learned to walk. Miles organized skate groups on top of the Embarcadero Freeway after the earthquake of 1989, and he even skated from San Francisco to Los Angeles — 14 times.\u003c/p>\n\u003cp>I’m not that ambitious, but I figured I could at least skate for one night.\u003c/p>\n\u003cp>Miles’ daughter retrieves my skates while on her own wheels. I stow my bag at the coat check that Miles’ niece runs. Sometimes Miles’ son will DJ the bumping music that ties the experience together. It’s a real family operation.\u003c/p>\n\u003cp>Sitting in a pew, I lace up my skates. I want to look something like Miles in his fuzzy purple leg warmers and sparkly red-and-black top hat, so I put on the next best thing: a cupcake costume.\u003c/p>\n\u003cfigure id=\"attachment_11002598\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002598\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg\" alt='David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you waddle or sail around the rink, there’s something incredible about the giant stained-glass windows and disco lights. Beyond the funky-meets-virtuous vibe, the history of this building is rich. The former Sacred Heart Church closed in 2004, due to low attendance and a need for costly seismic repairs. But during the century it was open, the church saw a demographic that changed with the neighborhood around it. Notably, it once housed a Black Panther breakfast program.\u003c/p>\n\u003cp>Tonight, though, it’s about funky town and raspberry berets. Miles, who takes turns DJing and skating, spots some first-time rollers.\u003c/p>\n\u003cp>“This is what I call the 45-second skate lesson,” he says, helping out a pair in their 30s. After doling out his standard instructions, he encourages them: “One lap. That’s all you need. When you come back around here you’ll be going, ‘Hey, it’s pretty cool.’ ”\u003c/p>\n\u003cp>Miles skates back over to me and smiles. “It never gets worse,” he says. “It only gets better. I love it.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published in November 2016 as part of The California Report Magazine's \"\u003ca href=\"https://www.kqed.org/news/tag/hidden-gems\">Hidden Gems\u003c/a>\" series. It re-aired on July 3rd, 2020 for a special show called \"Buckle Up: A (Virtual) Road Trip to CA Hidden Gems.\" Note: The indoor rink is closed due to shelter-in-place orders, but the Church of 8 Wheels is holding outdoor skating events — including a socially distanced disco party in San Francisco’s Golden Gate Park, every Friday night.\u003c/em>\u003c/p>\n\u003cp>Daniel Albert climbs a dusty church tower, lifts his arms above his head and grabs hold of a rope that comes from a hole in the ceiling. As he pulls it, the church bell on the other end chimes and resonates across this central San Francisco neighborhood. It’s 7 o’clock on a Friday night.\u003c/p>\n\u003cp>Then the music begins. But instead of hearing hymns, I hear disco. That’s because I’m at the \u003ca href=\"http://www.churchof8wheels.com/\">Church of 8 Wheels\u003c/a>. It’s a roller disco in a 120-year-old former Catholic church, just blocks from San Francisco’s famous Painted Lady rowhouses at Alamo Square. Albert is the operations manager, but he doubles as a rollerblading sensation. If you’ve been to this church, on Fillmore at Fell, you’ll know him as the guy with metallic reflective wings.\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/272358511&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/272358511'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the expansive space, old pews are pushed against the walls and lights reflect off a disco ball and onto the ceiling murals. David G. Miles Jr., known as the “Godfather of Skate,” proselytizes. “I am your roller disco minister,” he says. “I mean, it’s the Church of 8 Wheels, and as the godfather it’s my responsibility to spread rolligion everywhere I go.”\u003c/p>\n\u003cfigure id=\"attachment_11002592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002592\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg\" alt=\"A typical night at the Church of 8 Wheels.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical night at the Church of 8 Wheels. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That's right. \u003cem>Roll\u003c/em>igion.\u003c/p>\n\u003cp>The Church of 8 Wheels is Miles’ brainchild.\u003c/p>\n\u003cp>He moved to San Francisco in 1979. “I started skating in Golden Gate Park on my third or fourth day in San Francisco,” he says. “When I went out there I saw four people go by on roller skates and I was like, ‘Wow! They do that here?! I can do that.’ I went and got a pair of skates.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He met his wife in the park, and later their kids learned to skate just after they learned to walk. Miles organized skate groups on top of the Embarcadero Freeway after the earthquake of 1989, and he even skated from San Francisco to Los Angeles — 14 times.\u003c/p>\n\u003cp>I’m not that ambitious, but I figured I could at least skate for one night.\u003c/p>\n\u003cp>Miles’ daughter retrieves my skates while on her own wheels. I stow my bag at the coat check that Miles’ niece runs. Sometimes Miles’ son will DJ the bumping music that ties the experience together. It’s a real family operation.\u003c/p>\n\u003cp>Sitting in a pew, I lace up my skates. I want to look something like Miles in his fuzzy purple leg warmers and sparkly red-and-black top hat, so I put on the next best thing: a cupcake costume.\u003c/p>\n\u003cfigure id=\"attachment_11002598\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002598\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg\" alt='David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you waddle or sail around the rink, there’s something incredible about the giant stained-glass windows and disco lights. Beyond the funky-meets-virtuous vibe, the history of this building is rich. The former Sacred Heart Church closed in 2004, due to low attendance and a need for costly seismic repairs. But during the century it was open, the church saw a demographic that changed with the neighborhood around it. Notably, it once housed a Black Panther breakfast program.\u003c/p>\n\u003cp>Tonight, though, it’s about funky town and raspberry berets. Miles, who takes turns DJing and skating, spots some first-time rollers.\u003c/p>\n\u003cp>“This is what I call the 45-second skate lesson,” he says, helping out a pair in their 30s. After doling out his standard instructions, he encourages them: “One lap. That’s all you need. When you come back around here you’ll be going, ‘Hey, it’s pretty cool.’ ”\u003c/p>\n\u003cp>Miles skates back over to me and smiles. “It never gets worse,” he says. “It only gets better. I love it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
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