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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince died April 21 of a drug overdose. The process of determining his heirs and parceling out his estate has fallen to the courts because he had no known children and left no will. A DNA test has already ruled out a Colorado prison inmate who claimed to be Prince’s son.\u003c/p>\n\u003cp>Barring any others who could come forward claiming ties, Eide’s order drastically limits who may benefit from Prince’s fortunes — an estimated $300 million or more — or gain control of his legacy.\u003c/p>\n\u003cp>Among those excluded from potential heirship in Eide’s order are five unidentified people with shaky claims that Prince was their biological father. For example, one woman who said she was adopted claimed Prince was her father because “based upon the general description of the lifestyle of her biological parents, her fascination with the Decedent and physical similarities.”\u003c/p>\n\u003cp>The order also tosses out a handful of claimants who alleged that Prince’s father was someone other than John L. Nelson, who is listed in court records as Prince’s father.\u003c/p>\n\u003cp>Among those claimants was Venita Jackson Leverette, whose attorney, James Selmer, called Eide’s decision “a travesty” and said he’s considering an appeal. Selmer opined that his client would be banned from undergoing testing while a man serving an eight-year prison sentence in Colorado was given a DNA test.\u003c/p>\n\u003cp>“The better course would be to allow people that have a plausible connection to him to have a blood test,” he said.\u003c/p>\n\u003cp>The four Prince siblings or half-siblings ordered to undergo genetic testing all claim John L. Nelson as their father. Susan Link, head of estate planning for Minneapolis-based Maslon, said the judge may have ordered them tested because of the claimants who said John L. Nelson wasn’t actually Prince’s father — even though he threw out those claims.\u003c/p>\n\u003cp>The two that don’t need to be tested — Baker and Jackson — claim relation to Prince through a common mother, Mattie Shaw, but different fathers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the senior cast members of \u003ci>Sesame Street\u003c/i> who was recently cut from the beloved kids’ television series announced on social media Friday that the show’s producers are looking into bringing him and two other actors back.\u003c/p>\n\u003cp>[contextly_sidebar id=”0ukpjWKtaI6oGphK7V6uvw0r6RN9535R”]\u003c/p>\n\u003cp>Roscoe Orman, who has played the character Gordon on the show since 1974, made the announcement on Facebook, which was shared by fellow cast member Emilio Delgado (who played Luis):\u003c/p>\n\u003cp>https://www.facebook.com/emilio.delgado.5851/posts/10206628612698115\u003c/p>\n\u003cp>Sesame Workshop, which produces \u003ci>Sesame Street,\u003c/i> reached out to Orman, Delgado and original cast member Bob McGrath (who played the role of Bob) after \u003ca href=\"http://muppetcast.com/news/sesame-street-releases-bob-mcgrath/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Muppetcast\u003c/em>\u003c/a> reported Wednesday that they had been \u003ca href=\"http://ww2.kqed.org/arts/2016/07/27/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis/\" target=\"_blank\" rel=\"noopener\">released from their contracts earlier this year\u003c/a>. The story lead to an outcry from thousands of longtime viewers, resulting in this statement being released by Sesame Workshop Thursday:\u003c/p>\n\u003cblockquote>\u003cp>Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of \u003cem>Sesame Street\u003c/em>. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>Many critics blamed Sesame Workshop’s deal with HBO for cutting the veteran members, as it coincided with a \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener\">major re-tooling of the show\u003c/a>. As a result of the deal, the show was shortened from an hour to 30 minutes, and its content started to focus on teaching more socially-applicable skills to children such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow this story as it will be updated as KQED learns more details.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the senior cast members of \u003ci>Sesame Street\u003c/i> who was recently cut from the beloved kids’ television series announced on social media Friday that the show’s producers are looking into bringing him and two other actors back.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Roscoe Orman, who has played the character Gordon on the show since 1974, made the announcement on Facebook, which was shared by fellow cast member Emilio Delgado (who played Luis):\u003c/p>\n\u003cp>https://www.facebook.com/emilio.delgado.5851/posts/10206628612698115\u003c/p>\n\u003cp>Sesame Workshop, which produces \u003ci>Sesame Street,\u003c/i> reached out to Orman, Delgado and original cast member Bob McGrath (who played the role of Bob) after \u003ca href=\"http://muppetcast.com/news/sesame-street-releases-bob-mcgrath/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Muppetcast\u003c/em>\u003c/a> reported Wednesday that they had been \u003ca href=\"http://ww2.kqed.org/arts/2016/07/27/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis/\" target=\"_blank\" rel=\"noopener\">released from their contracts earlier this year\u003c/a>. The story lead to an outcry from thousands of longtime viewers, resulting in this statement being released by Sesame Workshop Thursday:\u003c/p>\n\u003cblockquote>\u003cp>Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of \u003cem>Sesame Street\u003c/em>. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>Many critics blamed Sesame Workshop’s deal with HBO for cutting the veteran members, as it coincided with a \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener\">major re-tooling of the show\u003c/a>. As a result of the deal, the show was shortened from an hour to 30 minutes, and its content started to focus on teaching more socially-applicable skills to children such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sandy Pearlman, a pioneering rock critic who later produced and managed Blue Oyster Cult and worked with The Clash, Patti Smith and other punk artists, has died.\u003c/p>\n\u003cp>Longtime friend Robert Duncan said Pearlman died Tuesday in Novato Community Hospital in Novato, Calif. He was 72 and had been in poor health since suffering a cerebral hemorrhage last year. Duncan said Pearlman had no immediate survivors.\u003c/p>\n\u003cp>A New York City native and a graduate of State University of New York at Stony Brook, Pearlman wrote for one of the first rock magazines, \u003cem>Crawdaddy\u003c/em>, in the 1960s and through Stony Brook met the musicians who became Blue Oyster Cult. (Originally called Soft White Underbelly). He booked early shows for the five-man group, arranged a meeting with then-Columbia Records executive Clive Davis that led to a record deal and produced several of their albums. Blue Oyster Cult sold millions of records and Pearlman was among the producers of the band’s classic hit “(Don’t Fear) the Reaper.”\u003c/p>\n\u003cp>He also worked with a variety of punk and heavy metal acts, from Smith and Black Sabbath to the Dictators and Romeo Void, and in 1978 produced one of punk’s most influential albums, the Clash’s \u003cem>Give ‘Em Enough Rope\u003c/em>.\u003c/p>\n\u003cp>More recently, he was a tour promoter, head of the alternative label 415 Records and a member of the Library of Congress’ preservation board. He was also an executive with one of the first companies to sell music online, eMusic.com, and taught music at McGill University in Montreal. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After news of his passing spread, friends of Pearlman such as photographer Hugh Brown shared stories on social media.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10153774517428873&set=a.313476963872.144857.608898872\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kevin L. Jones contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sandy Pearlman, a pioneering rock critic who later produced and managed Blue Oyster Cult and worked with The Clash, Patti Smith and other punk artists, has died.\u003c/p>\n\u003cp>Longtime friend Robert Duncan said Pearlman died Tuesday in Novato Community Hospital in Novato, Calif. He was 72 and had been in poor health since suffering a cerebral hemorrhage last year. Duncan said Pearlman had no immediate survivors.\u003c/p>\n\u003cp>A New York City native and a graduate of State University of New York at Stony Brook, Pearlman wrote for one of the first rock magazines, \u003cem>Crawdaddy\u003c/em>, in the 1960s and through Stony Brook met the musicians who became Blue Oyster Cult. (Originally called Soft White Underbelly). He booked early shows for the five-man group, arranged a meeting with then-Columbia Records executive Clive Davis that led to a record deal and produced several of their albums. Blue Oyster Cult sold millions of records and Pearlman was among the producers of the band’s classic hit “(Don’t Fear) the Reaper.”\u003c/p>\n\u003cp>He also worked with a variety of punk and heavy metal acts, from Smith and Black Sabbath to the Dictators and Romeo Void, and in 1978 produced one of punk’s most influential albums, the Clash’s \u003cem>Give ‘Em Enough Rope\u003c/em>.\u003c/p>\n\u003cp>More recently, he was a tour promoter, head of the alternative label 415 Records and a member of the Library of Congress’ preservation board. He was also an executive with one of the first companies to sell music online, eMusic.com, and taught music at McGill University in Montreal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After news of his passing spread, friends of Pearlman such as photographer Hugh Brown shared stories on social media.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10153774517428873&set=a.313476963872.144857.608898872\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kevin L. Jones contributed to this report.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose's Chidori Band Connects, Uplifts Japanese-American Community",
"headTitle": "San Jose’s Chidori Band Connects, Uplifts Japanese-American Community | KQED",
"content": "\u003cp>For many Japanese-Americans, Obon festivals are the highlight of summer. The Shin Buddhist tradition is similar to Day of the Dead; people remember their ancestors but also celebrate life with food, dance and music, the last of which resonates deeply in San Jose.\u003c/p>\n\u003cp>“Now we have a group that’s been performing at this Obon festival for more than six decades,” announced the MC of the annual event, held in the city’s Japantown earlier this month. “From San Jose, they practice just down the street. Here is the Chidori Band!”\u003c/p>\n\u003cp>The group of nearly two dozen musicians and singers began to play on a closed street in front of a Buddhist church, under strands of colorful lanterns and streamers. Between bouncing through game booths and food stalls, many festival-goers, some dressed in brightly patterned kimonos and yukatas, stopped to listen.\u003c/p>\n\u003cfigure id=\"attachment_11872134\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We primarily play enka, which is Japanese folk music that sounds similar to country music,” says Michael Yoshihara, the Chidori Band’s director and saxophone player. “We have original, classic and contemporary Japanese songs, jazz and J-pop, and we definitely do Obon music.”\u003c/p>\n\u003cp>All summer long, the group headlines Obon festivals across the state, from Lodi to Los Angeles. The events are their speciality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275999879″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“Obon is a celebration of your roots or of those who have passed on before you,” Yoshihara says. “It’s a time to get back to your family roots.”\u003c/p>\n\u003cp>He adds that the group’s music also helps connect people back to those roots. Practically everyone and their grandmother knows of the Chidori Band if you’re a Japanese-American from California; the band has had a lot of time to build up a loyal audience, having formed in 1953. It was a difficult time for many Japanese-Americans, who were reestablishing their lives after the federal government forced them into internment camps during World War II.\u003c/p>\n\u003cfigure id=\"attachment_11872650\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg\" alt=\"The Chidori Band, seen here in the 1950s.\" width=\"1100\" height=\"682\" class=\"size-full wp-image-11872650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-960x595.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band, seen here in the 1950s.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in these camps where the San Jose Chidori Band and other similar bands took root. People had joined together in musical groups during their isolation. \u003c/p>\n\u003cp>When the war ended, many Japanese-Americans came back destitute and demoralized. But community leaders across the state saw music as a way to bring people together and preserve their culture, and asked those who had sung or played instruments in internment camps to create new bands.\u003c/p>\n\u003cp>“I sang in camp, and they approached us and said, ‘This is what we’re thinking,’” says Masayo Arii, 89, from Cupertino — one of the Chidori Band’s original singers. Though groups were formed all over the state, “we’re the only one left now,” she says. “San Francisco, San Mateo, Sacramento, Fresno — they all had bands, and San Francisco had a very good band, but they didn’t last.”\u003c/p>\n\u003cfigure id=\"attachment_11872136\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg\" alt=\"Chidori Band director Michael Yoshihara rehearses in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Chidori Band director Michael Yoshihara rehearses in San Jose’s Japantown before a series of performances at Obon festivals in different cities.\u003cbr> \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcia Hashimoto, 69, grew up listening to many of those groups, and still goes to see the Chidori Band. At her home in Watsonville, she still owns and listens to the band’d CDs, which bring back “wonderful memories of my childhood,” she says. \u003c/p>\n\u003cp>Her family would drive to see the band’s performances, which were usually packed. “It was just so wonderful to hear the quality of music,” she says. “It just made you feel so happy, that life was beginning to get back to normalcy, and these were the good times now.”\u003c/p>\n\u003cfigure id=\"attachment_11872137\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg\" alt=\"Yoko Inada, right, practices with the Chidori Band in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"735\" class=\"size-full wp-image-11872137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Yoko Inada, right, practices with the Chidori Band in San Jose’s Japantown before a series of performances at Obon festivals in different cities. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the music isn’t just about nostalgia. At 25 years old, Emily Kawaguchi is one of the youngest members of the Chidori Band. She says she wants to carry the group into the future.\u003c/p>\n\u003cp>“Being a younger musician, I think there is a little bit of responsibility on the younger generation to continue and to share that kind of Japanese music with others,” she says.\u003c/p>\n\u003cp>And she’s not the only one. A 17-year-old joined this year, and the Chidori Band hopes to bring in even more young people to keep the music alive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chidori Band performs Saturday, Aug. 6 at 6:20pm at the \u003ca href=\"http://www.buddhistchurchofoakland.org/\" target=\"_blank\" rel=\"noopener\">Buddhist Church of Oakland Obon Festival\u003c/a>, and on Saturday, Aug. 13 at 6pm at \u003ca href=\"http://sacbc.org/wp/\" target=\"_blank\" rel=\"noopener\">Southern Alameda County Buddhist Church-Union City Obon Festival\u003c/a>. For details and more information, see the \u003ca href=\"http://chidoriband.com/wp/\" target=\"_blank\" rel=\"noopener\">Chidori Band’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many Japanese-Americans, Obon festivals are the highlight of summer. The Shin Buddhist tradition is similar to Day of the Dead; people remember their ancestors but also celebrate life with food, dance and music, the last of which resonates deeply in San Jose.\u003c/p>\n\u003cp>“Now we have a group that’s been performing at this Obon festival for more than six decades,” announced the MC of the annual event, held in the city’s Japantown earlier this month. “From San Jose, they practice just down the street. Here is the Chidori Band!”\u003c/p>\n\u003cp>The group of nearly two dozen musicians and singers began to play on a closed street in front of a Buddhist church, under strands of colorful lanterns and streamers. Between bouncing through game booths and food stalls, many festival-goers, some dressed in brightly patterned kimonos and yukatas, stopped to listen.\u003c/p>\n\u003cfigure id=\"attachment_11872134\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We primarily play enka, which is Japanese folk music that sounds similar to country music,” says Michael Yoshihara, the Chidori Band’s director and saxophone player. “We have original, classic and contemporary Japanese songs, jazz and J-pop, and we definitely do Obon music.”\u003c/p>\n\u003cp>All summer long, the group headlines Obon festivals across the state, from Lodi to Los Angeles. The events are their speciality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/275999879″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/275999879″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Obon is a celebration of your roots or of those who have passed on before you,” Yoshihara says. “It’s a time to get back to your family roots.”\u003c/p>\n\u003cp>He adds that the group’s music also helps connect people back to those roots. Practically everyone and their grandmother knows of the Chidori Band if you’re a Japanese-American from California; the band has had a lot of time to build up a loyal audience, having formed in 1953. It was a difficult time for many Japanese-Americans, who were reestablishing their lives after the federal government forced them into internment camps during World War II.\u003c/p>\n\u003cfigure id=\"attachment_11872650\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg\" alt=\"The Chidori Band, seen here in the 1950s.\" width=\"1100\" height=\"682\" class=\"size-full wp-image-11872650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-960x595.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band, seen here in the 1950s.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in these camps where the San Jose Chidori Band and other similar bands took root. People had joined together in musical groups during their isolation. \u003c/p>\n\u003cp>When the war ended, many Japanese-Americans came back destitute and demoralized. But community leaders across the state saw music as a way to bring people together and preserve their culture, and asked those who had sung or played instruments in internment camps to create new bands.\u003c/p>\n\u003cp>“I sang in camp, and they approached us and said, ‘This is what we’re thinking,’” says Masayo Arii, 89, from Cupertino — one of the Chidori Band’s original singers. Though groups were formed all over the state, “we’re the only one left now,” she says. “San Francisco, San Mateo, Sacramento, Fresno — they all had bands, and San Francisco had a very good band, but they didn’t last.”\u003c/p>\n\u003cfigure id=\"attachment_11872136\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg\" alt=\"Chidori Band director Michael Yoshihara rehearses in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Chidori Band director Michael Yoshihara rehearses in San Jose’s Japantown before a series of performances at Obon festivals in different cities.\u003cbr> \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcia Hashimoto, 69, grew up listening to many of those groups, and still goes to see the Chidori Band. At her home in Watsonville, she still owns and listens to the band’d CDs, which bring back “wonderful memories of my childhood,” she says. \u003c/p>\n\u003cp>Her family would drive to see the band’s performances, which were usually packed. “It was just so wonderful to hear the quality of music,” she says. “It just made you feel so happy, that life was beginning to get back to normalcy, and these were the good times now.”\u003c/p>\n\u003cfigure id=\"attachment_11872137\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg\" alt=\"Yoko Inada, right, practices with the Chidori Band in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"735\" class=\"size-full wp-image-11872137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Yoko Inada, right, practices with the Chidori Band in San Jose’s Japantown before a series of performances at Obon festivals in different cities. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the music isn’t just about nostalgia. At 25 years old, Emily Kawaguchi is one of the youngest members of the Chidori Band. She says she wants to carry the group into the future.\u003c/p>\n\u003cp>“Being a younger musician, I think there is a little bit of responsibility on the younger generation to continue and to share that kind of Japanese music with others,” she says.\u003c/p>\n\u003cp>And she’s not the only one. A 17-year-old joined this year, and the Chidori Band hopes to bring in even more young people to keep the music alive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chidori Band performs Saturday, Aug. 6 at 6:20pm at the \u003ca href=\"http://www.buddhistchurchofoakland.org/\" target=\"_blank\" rel=\"noopener\">Buddhist Church of Oakland Obon Festival\u003c/a>, and on Saturday, Aug. 13 at 6pm at \u003ca href=\"http://sacbc.org/wp/\" target=\"_blank\" rel=\"noopener\">Southern Alameda County Buddhist Church-Union City Obon Festival\u003c/a>. For details and more information, see the \u003ca href=\"http://chidoriband.com/wp/\" target=\"_blank\" rel=\"noopener\">Chidori Band’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill Cosby has dropped a lawsuit that demanded the accuser in his criminal case repay the money from their confidential 2006 court settlement.\u003c/p>\n\u003cp>Cosby had sued Andrea Constand for breach of contract for speaking to police who reopened the criminal investigation last year. His lawyers argued that her police statements, along with two tweets and brief comments to a Toronto newspaper, violated the confidentiality clause.\u003c/p>\n\u003cp>A judge this month upheld her right to talk to police, but said Cosby could pursue the other issues. Cosby, though, dropped the suit entirely on Thursday. The move comes a week after he switched law firms for the second time in about a year.\u003c/p>\n\u003cp>“With a court validation of his ability to proceed … Mr. Cosby has today stepped away from that suit and will instead focus his efforts on defending himself against the claims that have been lodged against him,” his lawyer said in a statement.\u003c/p>\n\u003cp>The swirl of litigation surrounding Cosby includes the felony sexual-assault case involving Constand and a string of defamation lawsuits filed by women who said they were branded liars when Cosby or his agents denied their similar claims.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Constand’s lawyers called the lawsuit Cosby filed against their client “a blatant attempt at intimidation.” They had also been named as defendants, along with Constand’s mother.\u003c/p>\n\u003cp>“The dismissal is a victory for all victims,” lawyer Dolores Troiani said.\u003c/p>\n\u003cp>No trial date has been set for Cosby’s felony sex-assault trial. He is accused of drugging and molesting Constand at his home near Philadelphia in 2004.\u003c/p>\n\u003cp>Constand sued him in 2005 after prosecutors at the time declined to file charges. The criminal case was reopened after other accusers came forward and Cosby’s deposition in the civil suit was released.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"excerpt": "Cosby's lawsuit also had accused the woman's two lawyers and the publisher of the National Enquirer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby has dropped a lawsuit that demanded the accuser in his criminal case repay the money from their confidential 2006 court settlement.\u003c/p>\n\u003cp>Cosby had sued Andrea Constand for breach of contract for speaking to police who reopened the criminal investigation last year. His lawyers argued that her police statements, along with two tweets and brief comments to a Toronto newspaper, violated the confidentiality clause.\u003c/p>\n\u003cp>A judge this month upheld her right to talk to police, but said Cosby could pursue the other issues. Cosby, though, dropped the suit entirely on Thursday. The move comes a week after he switched law firms for the second time in about a year.\u003c/p>\n\u003cp>“With a court validation of his ability to proceed … Mr. Cosby has today stepped away from that suit and will instead focus his efforts on defending himself against the claims that have been lodged against him,” his lawyer said in a statement.\u003c/p>\n\u003cp>The swirl of litigation surrounding Cosby includes the felony sexual-assault case involving Constand and a string of defamation lawsuits filed by women who said they were branded liars when Cosby or his agents denied their similar claims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Constand’s lawyers called the lawsuit Cosby filed against their client “a blatant attempt at intimidation.” They had also been named as defendants, along with Constand’s mother.\u003c/p>\n\u003cp>“The dismissal is a victory for all victims,” lawyer Dolores Troiani said.\u003c/p>\n\u003cp>No trial date has been set for Cosby’s felony sex-assault trial. He is accused of drugging and molesting Constand at his home near Philadelphia in 2004.\u003c/p>\n\u003cp>Constand sued him in 2005 after prosecutors at the time declined to file charges. The criminal case was reopened after other accusers came forward and Cosby’s deposition in the civil suit was released.\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": "Politics Takes Center Stage at Bay Area Theaters",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275966310″ 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>It’s no coincidence that a number of plays on Bay Area stages this summer and fall are featuring the same character, one with a strong resemblance to a certain Republican presidential nominee. The most explicit is Dan Hoyle’s one man show \u003cem>The Real Americans,\u003c/em> which he is performing \u003ca href=\"https://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\"> at the Marsh in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“Donald Trump, he gonna be president,” says Hoyle in the role of Roy, an African-American, with his t-shirt pulled up and a pack of cigarettes rolled in a sleeve. “I like a president that’s bold. That has some balls. I mean Obama. He was a good president. But they didn’t let him do nothing. They gave him the keys to the city and he locked up the doors.”\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hoyle plays a dozen or so characters, based on interviews he did driving around the country during the recession, in 2008, and again last spring.\u003c/p>\n\u003cp>“If anything,” he said, “the desperation is greater. Especially for working class folks if they lost their jobs. And people’s sense of disenfranchisement makes them think things that probably aren’t all based in fact.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, many of his interviewees, mirroring the national mood, were passionate about Republican nominee Donald Trump or former Vermont Senator Bernie Sanders. Democratic nominee, Hillary Clinton, not so much. And that goes for the characters he portrays from the Bay Area as well.\u003c/p>\n\u003cp>“One of my Lyft customers was telling me that she was going to vote for Bernie,” says Hoyle in the role of a gig economy underachiever. “But now she’ll vote for Trump because he understands her anger.”\u003c/p>\n\u003cp>The Bay Area has long supported political theater. “We believe in the public square,” \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theater Bay Area Executive Director Brad Ericson\u003c/a> says, “we believe that our voices can make a difference.”\u003c/p>\n\u003cp>It’s often hard for theater companies to respond quickly to current events, as plays can take years to develop. But Ericson, who’s worked in the Bay Area theater scene since the early 1980s, can’t remember a time when so many shows focused on an upcoming election.\u003c/p>\n\u003cp>“We’re seeing a real flurry of political theater,” Ericson says, “just because the stakes seem to be so high. This is such a bizarre political season.”\u003c/p>\n\u003cp>\u003cstrong>The First American Play\u003c/strong>\u003c/p>\n\u003cp>Still, American Theater has often been a forum for both partisan politics and debates about race and class.\u003c/p>\n\u003cp>“The very \u003ca href=\"https://padavisblog.wordpress.com/2013/08/27/today-in-theatre-history-american-theatres-first-really-bad-review-august-27-1665/\" target=\"_blank\" rel=\"noopener\">first known play was called \u003cem>Ye Bare and Ye Cubb\u003c/em>\u003c/a>, which was a political tract about why colonists should not have to pay taxes,” says \u003ca href=\"https://www.usfca.edu/faculty/christine-young\" target=\"_blank\" rel=\"noopener\">Christine Young\u003c/a>, an assistant professor and chair of the performing arts and social justice program at the University of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11868272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg\" alt=\"A poster for a stage version of "Uncle Tom's Cabin' \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-960x638.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a stage version of “Uncle Tom’s Cabin’ \u003ccite>(Photo: Lithograph courtesy of the Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was 1655. Scholars say millions of people saw theatrical versions of the anti-slavery novel \u003cem>Uncle Tom’s Cabin\u003c/em>. And in the 1930s, the Federal Theater project produced plays supporting Roosevelt’s New Deal.\u003c/p>\n\u003cp>“There were plays that opened in cities all across the country,” Young says, “and thousands if not millions of people saw the same plays.”\u003c/p>\n\u003cp>\u003cstrong>Can It Happen Here?\u003c/strong>\u003c/p>\n\u003cp>The prime example was \u003ca href=\"http://www.salon.com/2015/09/29/it_really_can_happen_here_the_novel_that_foreshadowed_donald_trumps_authoritarian_appeal/\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, based on Sinclair Lewis’ novel, in which the populist senator Buzz Windrip wins the presidency with an “America First” campaign, then imposes a fascist state. The Federal Theater Project opened the show in 21 theaters across the country in 1936, with the Depression gripping America, and Hitler and Mussolini on the rise in Europe. And the novel is getting a fresh look in September from the Berkeley Repertory Theater.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-c7CPvoMKnU\u003c/p>\n\u003cp>A group of actors and members of the stage crew gathered recently for a first ever reading of the script, with dialogue that could be the transcription of a modern political talk show about the candidacy of Donald Trump.\u003c/p>\n\u003cp>“Philip,” a woman says of Buzz Windrip, “the man’s a racist and a misogynist.”\u003c/p>\n\u003cp>“Yes, Lorinda,” the character Philip answers, “he’s said some terrible and inflammatory things, but why do you think so many people support him. And it’s not because they’re all stupid and blind. People want a voice.”\u003c/p>\n\u003cfigure id=\"attachment_11868290\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Tony-Taccone-co-playwright-for-It-Cant-Happen-Here-an-adaptation-of-the-Sinclair-Lewis-novel.jpg\" alt=\"Tony Taccone co-playwright for 'It Can't Happen Here,' an adaptation of the Sinclair Lewis novel\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Tony Taccone co-playwright for ‘It Can’t Happen Here,’ an adaptation of the Sinclair Lewis novel \u003ccite>(Photo: kevinberne.com/Berkeley Repertory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett Cohen wrote this new adaptation of Lewis’ book with Berkeley Rep’s Artistic Director Tony Taccone. “It was just so clear,” Taccone says, “that the book was screaming to be done.\u003c/p>\n\u003cp>“The similarities between Buzz Windrip and Donald Trump are astonishing,” Taccone says. “In the sense that what Trump has done, like the character in the book, he’s taken this unadorned self, and put it out there, as something that’s more “real” than any politician. And there’s a significant portion of the population that buys it.”\u003c/p>\n\u003cp>Beyond that mirroring, Taccone says \u003cem>It Can’t Happen Here\u003c/em> fits well with Berkeley Rep’s mission.\u003c/p>\n\u003cp>“It’s critical for a theater to be in dialogue with its community about what’s going on” Taccone says, “and between climate change and terrorism, we’re embedded in a very, very fearful time in the history of the world.”\u003c/p>\n\u003cp>\u003cstrong>The People Want a Voice\u003c/strong>\u003c/p>\n\u003cp>That ideal of community engagement matters a lot for most theater companies, but few are so clear in their politics as The San Francisco Mime Troupe.\u003c/p>\n\u003cp>“Theater is a hammer with which you shape the world,” says the Mime Troupe’s Resident Playwright Michael Gene Sullivan. “All theater is political in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_11868291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11868291 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg\" alt=\"An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe's new show 'Schooled'\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe’s new show ‘Schooled’ \u003ccite>(Photo: Mike@mikemelnyk.com/San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Mime Troupe show, \u003cem>Schooled\u003c/em>, features an orange0haired candidate running for the school board against a moderate (think Hillary Clinton) and a leftie (think Bernie Sanders).\u003c/p>\n\u003cp>The Mime Troupe makes explicitly \u003ca href=\"https://en.wikipedia.org/wiki/Agitprop\" target=\"_blank\" rel=\"noopener\">agitprop theater\u003c/a>, Sullivan says, which is meant to whip up the audience and get them to join a cause.\u003c/p>\n\u003cp>“If the audience leaves the theater basically the same people when they entered,” Sullivan says, “the show failed. Because your job is to change them.”\u003c/p>\n\u003cp>But most theater artists say they aspire to a more modest ambition, to inspire a sense of compassion and connection to people who may hold very different views.\u003c/p>\n\u003cp>“The long game for me is all about empathy,” Dan Hoyle says. “And you might not agree with the people on stage, but if you try to understand the world thru their eyes, I think that’s transformational in the long term.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So a political play may succeed simply if the audience is talking about the play, arguing about the issues, and caring about their fellow human beings as they leave the theater.\u003c/p>\n\n",
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"excerpt": "Republican nominee Donald Trump is a recurring character on Bay Area stages this summer and fall.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/275966310″&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/275966310″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s no coincidence that a number of plays on Bay Area stages this summer and fall are featuring the same character, one with a strong resemblance to a certain Republican presidential nominee. The most explicit is Dan Hoyle’s one man show \u003cem>The Real Americans,\u003c/em> which he is performing \u003ca href=\"https://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\"> at the Marsh in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“Donald Trump, he gonna be president,” says Hoyle in the role of Roy, an African-American, with his t-shirt pulled up and a pack of cigarettes rolled in a sleeve. “I like a president that’s bold. That has some balls. I mean Obama. He was a good president. But they didn’t let him do nothing. They gave him the keys to the city and he locked up the doors.”\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hoyle plays a dozen or so characters, based on interviews he did driving around the country during the recession, in 2008, and again last spring.\u003c/p>\n\u003cp>“If anything,” he said, “the desperation is greater. Especially for working class folks if they lost their jobs. And people’s sense of disenfranchisement makes them think things that probably aren’t all based in fact.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, many of his interviewees, mirroring the national mood, were passionate about Republican nominee Donald Trump or former Vermont Senator Bernie Sanders. Democratic nominee, Hillary Clinton, not so much. And that goes for the characters he portrays from the Bay Area as well.\u003c/p>\n\u003cp>“One of my Lyft customers was telling me that she was going to vote for Bernie,” says Hoyle in the role of a gig economy underachiever. “But now she’ll vote for Trump because he understands her anger.”\u003c/p>\n\u003cp>The Bay Area has long supported political theater. “We believe in the public square,” \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theater Bay Area Executive Director Brad Ericson\u003c/a> says, “we believe that our voices can make a difference.”\u003c/p>\n\u003cp>It’s often hard for theater companies to respond quickly to current events, as plays can take years to develop. But Ericson, who’s worked in the Bay Area theater scene since the early 1980s, can’t remember a time when so many shows focused on an upcoming election.\u003c/p>\n\u003cp>“We’re seeing a real flurry of political theater,” Ericson says, “just because the stakes seem to be so high. This is such a bizarre political season.”\u003c/p>\n\u003cp>\u003cstrong>The First American Play\u003c/strong>\u003c/p>\n\u003cp>Still, American Theater has often been a forum for both partisan politics and debates about race and class.\u003c/p>\n\u003cp>“The very \u003ca href=\"https://padavisblog.wordpress.com/2013/08/27/today-in-theatre-history-american-theatres-first-really-bad-review-august-27-1665/\" target=\"_blank\" rel=\"noopener\">first known play was called \u003cem>Ye Bare and Ye Cubb\u003c/em>\u003c/a>, which was a political tract about why colonists should not have to pay taxes,” says \u003ca href=\"https://www.usfca.edu/faculty/christine-young\" target=\"_blank\" rel=\"noopener\">Christine Young\u003c/a>, an assistant professor and chair of the performing arts and social justice program at the University of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11868272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg\" alt=\"A poster for a stage version of "Uncle Tom's Cabin' \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-960x638.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a stage version of “Uncle Tom’s Cabin’ \u003ccite>(Photo: Lithograph courtesy of the Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was 1655. Scholars say millions of people saw theatrical versions of the anti-slavery novel \u003cem>Uncle Tom’s Cabin\u003c/em>. And in the 1930s, the Federal Theater project produced plays supporting Roosevelt’s New Deal.\u003c/p>\n\u003cp>“There were plays that opened in cities all across the country,” Young says, “and thousands if not millions of people saw the same plays.”\u003c/p>\n\u003cp>\u003cstrong>Can It Happen Here?\u003c/strong>\u003c/p>\n\u003cp>The prime example was \u003ca href=\"http://www.salon.com/2015/09/29/it_really_can_happen_here_the_novel_that_foreshadowed_donald_trumps_authoritarian_appeal/\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, based on Sinclair Lewis’ novel, in which the populist senator Buzz Windrip wins the presidency with an “America First” campaign, then imposes a fascist state. The Federal Theater Project opened the show in 21 theaters across the country in 1936, with the Depression gripping America, and Hitler and Mussolini on the rise in Europe. And the novel is getting a fresh look in September from the Berkeley Repertory Theater.\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/-c7CPvoMKnU'\n title='//www.youtube.com/embed/-c7CPvoMKnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A group of actors and members of the stage crew gathered recently for a first ever reading of the script, with dialogue that could be the transcription of a modern political talk show about the candidacy of Donald Trump.\u003c/p>\n\u003cp>“Philip,” a woman says of Buzz Windrip, “the man’s a racist and a misogynist.”\u003c/p>\n\u003cp>“Yes, Lorinda,” the character Philip answers, “he’s said some terrible and inflammatory things, but why do you think so many people support him. And it’s not because they’re all stupid and blind. People want a voice.”\u003c/p>\n\u003cfigure id=\"attachment_11868290\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Tony-Taccone-co-playwright-for-It-Cant-Happen-Here-an-adaptation-of-the-Sinclair-Lewis-novel.jpg\" alt=\"Tony Taccone co-playwright for 'It Can't Happen Here,' an adaptation of the Sinclair Lewis novel\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Tony Taccone co-playwright for ‘It Can’t Happen Here,’ an adaptation of the Sinclair Lewis novel \u003ccite>(Photo: kevinberne.com/Berkeley Repertory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett Cohen wrote this new adaptation of Lewis’ book with Berkeley Rep’s Artistic Director Tony Taccone. “It was just so clear,” Taccone says, “that the book was screaming to be done.\u003c/p>\n\u003cp>“The similarities between Buzz Windrip and Donald Trump are astonishing,” Taccone says. “In the sense that what Trump has done, like the character in the book, he’s taken this unadorned self, and put it out there, as something that’s more “real” than any politician. And there’s a significant portion of the population that buys it.”\u003c/p>\n\u003cp>Beyond that mirroring, Taccone says \u003cem>It Can’t Happen Here\u003c/em> fits well with Berkeley Rep’s mission.\u003c/p>\n\u003cp>“It’s critical for a theater to be in dialogue with its community about what’s going on” Taccone says, “and between climate change and terrorism, we’re embedded in a very, very fearful time in the history of the world.”\u003c/p>\n\u003cp>\u003cstrong>The People Want a Voice\u003c/strong>\u003c/p>\n\u003cp>That ideal of community engagement matters a lot for most theater companies, but few are so clear in their politics as The San Francisco Mime Troupe.\u003c/p>\n\u003cp>“Theater is a hammer with which you shape the world,” says the Mime Troupe’s Resident Playwright Michael Gene Sullivan. “All theater is political in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_11868291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11868291 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg\" alt=\"An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe's new show 'Schooled'\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe’s new show ‘Schooled’ \u003ccite>(Photo: Mike@mikemelnyk.com/San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Mime Troupe show, \u003cem>Schooled\u003c/em>, features an orange0haired candidate running for the school board against a moderate (think Hillary Clinton) and a leftie (think Bernie Sanders).\u003c/p>\n\u003cp>The Mime Troupe makes explicitly \u003ca href=\"https://en.wikipedia.org/wiki/Agitprop\" target=\"_blank\" rel=\"noopener\">agitprop theater\u003c/a>, Sullivan says, which is meant to whip up the audience and get them to join a cause.\u003c/p>\n\u003cp>“If the audience leaves the theater basically the same people when they entered,” Sullivan says, “the show failed. Because your job is to change them.”\u003c/p>\n\u003cp>But most theater artists say they aspire to a more modest ambition, to inspire a sense of compassion and connection to people who may hold very different views.\u003c/p>\n\u003cp>“The long game for me is all about empathy,” Dan Hoyle says. “And you might not agree with the people on stage, but if you try to understand the world thru their eyes, I think that’s transformational in the long term.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So a political play may succeed simply if the audience is talking about the play, arguing about the issues, and caring about their fellow human beings as they leave the theater.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>\u003cb>Updated Friday, July 29\u003c/b>\u003c/i> \u003c/p>\n\u003cp>\u003ci>Sesame Street,\u003c/i> the 46-year-old award-winning children’s show, cut three of its most senior cast members earlier this year, according to one of the actors that was released.\u003c/p>\n\u003cp>At a Q&A event at the \u003ca href=\"http://floridasupercon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Supercon\u003c/a> on July 2, Bob McGrath, a.k.a. “Bob,” informed the audience that he, Emilio Delgado (who played “Luis”) and Roscoe Orman (“Gordon”) were all released from the show as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">its re-tooling for HBO\u003c/a>. \u003c/p>\n\u003cp>[contextly_sidebar id=”7F6jW89pLQuFWo898jgFHbNPKeEethoS”]\u003c/p>\n\u003cp>“As of this season, I have completed my 45th season this year. And the show has gone under a major turnaround, going from an hour to a half hour. HBO has gotten involved also. And they let all of the original cast members go, with the exception of Alan Muraoka — who is probably 20 years younger than the rest of us — and Chris Knowings, who is also young,” McGrath said. (His statement \u003ca href=\"http://muppetcast.com/show-287/\" target=\"_blank\" rel=\"noopener noreferrer\">can be heard on the Muppet-centric podcast \u003ci>The MuppetCast.\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to McGrath, the show will keep Loretta Long, who has played Susan, Gordon’s wife, since the beginning of the show.\u003c/p>\n\u003cp>\u003ca href=\"http://muppet.wikia.com/wiki/Bob_McGrath\" target=\"_blank\" rel=\"noopener noreferrer\">McGrath,\u003c/a> 84, had been with the \u003ci>Sesame Street\u003c/i> cast since the show’s inception in 1969 — one of only two of the original cast members still with the show until this year. Formerly\u003ca href=\"http://www.bobmcgrath.com/bob/\" target=\"_blank\" rel=\"noopener noreferrer\"> a successful singer in Japan\u003c/a>, McGrath sang on many of the show’s early hit songs, such as “People in Your Neighborhood”: \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V2bbnlZwlGQ\u003c/p>\n\u003cp>Delgado, 76, joined the show in 1971, debuting as Luis the handyman at the same time as Raul Julia’s character Rafael. (Julia would go on to be a \u003ca href=\"http://www.imdb.com/name/nm0000471/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">movie star\u003c/a> before dying in 1994.) Later, Luis married Maria, played by Sonia Manzano, and the two would be instrumental in introducing Hispanic culture to \u003ci>Sesame Street\u003c/i> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>Though he wasn’t the original Gordon, Orman had played the character since 1974. Gordon was the patriarch of the Robinsons, an African-American family that had been on \u003ci>Sesame Street\u003c/i> since the beginning. Orman also played “Trash Gordon,” a superhero made up for stories told to Oscar the Grouch. \u003c/p>\n\u003cp>In his memoir \u003ci>Sesame Street Dad: Evolution of an Actor\u003c/i>, Orman wrote:\u003c/p>\n\u003cblockquote>\u003cp>“If I could boast of no other major career accomplishment, having played a central role as I have in the development and continuation of this landmark series would alone have made my life sufficiently meaningful. The historical significance of Sesame Street and its surprising longevity have made my association with the show, in many regards, my life’s crowning achievement.”\u003c/p>\u003c/blockquote>\n\u003cp>McGrath said the cast changes were made as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">a major overhaul\u003c/a> the show has undergone since its producers made a deal with HBO last year. In addition to cutting the show from an hour to a half-hour, McGrath remarked, HBO will premiere the newest episodes on HBO for nine months before they’re made available elsewhere, and change the focus to topics such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Elizabeth Fishman, a representative from Sesame Workshop, provided KQED with the following this statement:\u003c/p>\n\u003cblockquote>\u003cp> Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of Sesame Street. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>UPDATE:\u003c/b> Sesame Workshop has reached out to McGrath, Orman and Delgado to see about bringing back to the cast. Read more here: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/29/sesame-street-looking-to-bring-back-senior-cast-members-after-uproar/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Sesame Street’ Looking to Bring Back Senior Cast Members After Uproar\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read more: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/28/five-times-bob-luis-and-gordon-taught-us-to-be-better-on-sesame-street/\" target=\"_blank\" rel=\"noopener noreferrer\">Five Times Bob, Luis and Gordon from ‘Sesame Street’ Taught Us to Be Better\u003c/a>\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cb>Updated Friday, July 29\u003c/b>\u003c/i> \u003c/p>\n\u003cp>\u003ci>Sesame Street,\u003c/i> the 46-year-old award-winning children’s show, cut three of its most senior cast members earlier this year, according to one of the actors that was released.\u003c/p>\n\u003cp>At a Q&A event at the \u003ca href=\"http://floridasupercon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Supercon\u003c/a> on July 2, Bob McGrath, a.k.a. “Bob,” informed the audience that he, Emilio Delgado (who played “Luis”) and Roscoe Orman (“Gordon”) were all released from the show as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">its re-tooling for HBO\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“As of this season, I have completed my 45th season this year. And the show has gone under a major turnaround, going from an hour to a half hour. HBO has gotten involved also. And they let all of the original cast members go, with the exception of Alan Muraoka — who is probably 20 years younger than the rest of us — and Chris Knowings, who is also young,” McGrath said. (His statement \u003ca href=\"http://muppetcast.com/show-287/\" target=\"_blank\" rel=\"noopener noreferrer\">can be heard on the Muppet-centric podcast \u003ci>The MuppetCast.\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to McGrath, the show will keep Loretta Long, who has played Susan, Gordon’s wife, since the beginning of the show.\u003c/p>\n\u003cp>\u003ca href=\"http://muppet.wikia.com/wiki/Bob_McGrath\" target=\"_blank\" rel=\"noopener noreferrer\">McGrath,\u003c/a> 84, had been with the \u003ci>Sesame Street\u003c/i> cast since the show’s inception in 1969 — one of only two of the original cast members still with the show until this year. Formerly\u003ca href=\"http://www.bobmcgrath.com/bob/\" target=\"_blank\" rel=\"noopener noreferrer\"> a successful singer in Japan\u003c/a>, McGrath sang on many of the show’s early hit songs, such as “People in Your Neighborhood”: \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/V2bbnlZwlGQ'\n title='//www.youtube.com/embed/V2bbnlZwlGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Delgado, 76, joined the show in 1971, debuting as Luis the handyman at the same time as Raul Julia’s character Rafael. (Julia would go on to be a \u003ca href=\"http://www.imdb.com/name/nm0000471/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">movie star\u003c/a> before dying in 1994.) Later, Luis married Maria, played by Sonia Manzano, and the two would be instrumental in introducing Hispanic culture to \u003ci>Sesame Street\u003c/i> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>Though he wasn’t the original Gordon, Orman had played the character since 1974. Gordon was the patriarch of the Robinsons, an African-American family that had been on \u003ci>Sesame Street\u003c/i> since the beginning. Orman also played “Trash Gordon,” a superhero made up for stories told to Oscar the Grouch. \u003c/p>\n\u003cp>In his memoir \u003ci>Sesame Street Dad: Evolution of an Actor\u003c/i>, Orman wrote:\u003c/p>\n\u003cblockquote>\u003cp>“If I could boast of no other major career accomplishment, having played a central role as I have in the development and continuation of this landmark series would alone have made my life sufficiently meaningful. The historical significance of Sesame Street and its surprising longevity have made my association with the show, in many regards, my life’s crowning achievement.”\u003c/p>\u003c/blockquote>\n\u003cp>McGrath said the cast changes were made as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">a major overhaul\u003c/a> the show has undergone since its producers made a deal with HBO last year. In addition to cutting the show from an hour to a half-hour, McGrath remarked, HBO will premiere the newest episodes on HBO for nine months before they’re made available elsewhere, and change the focus to topics such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Elizabeth Fishman, a representative from Sesame Workshop, provided KQED with the following this statement:\u003c/p>\n\u003cblockquote>\u003cp> Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of Sesame Street. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>UPDATE:\u003c/b> Sesame Workshop has reached out to McGrath, Orman and Delgado to see about bringing back to the cast. Read more here: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/29/sesame-street-looking-to-bring-back-senior-cast-members-after-uproar/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Sesame Street’ Looking to Bring Back Senior Cast Members After Uproar\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read more: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/28/five-times-bob-luis-and-gordon-taught-us-to-be-better-on-sesame-street/\" target=\"_blank\" rel=\"noopener noreferrer\">Five Times Bob, Luis and Gordon from ‘Sesame Street’ Taught Us to Be Better\u003c/a>\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Apparently Oakland can push Greg Ashley out, but it can’t keep him away.\u003c/p>\n\u003cp>An Oakland resident since 2002, Ashley ran his Creamery Analog recording studio there for almost a decade. He moved into a girlfriend’s place in Austin back in May when he and his roommates at the \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town\" target=\"_blank\" rel=\"noopener\">Ghost Town Gallery were evicted\u003c/a>. In the weeks after his forced relocation, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/24/adios-greg-ashley-a-look-back-at-the-psychedelic-savants-oakland-years/\" target=\"_blank\" rel=\"noopener\">Ashley said he planned to stay in Texas\u003c/a> — he’s originally from Houston — and start a studio.\u003c/p>\n\u003cp>A month later, Ashley has moved back to Oakland and opened a new studio inside a church just blocks away from Ghost Town. He’s been recording bands there since last week.\u003c/p>\n\u003cp>“It sounds pretty good! I had my first session here last night,” Ashley said last Friday. “The sound came out just as good as ever on the tape, so it’s looking like a positive thing.”\u003c/p>\n\u003cfigure id=\"attachment_11864508\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg\" alt=\"Greg Ashley in his new studio with a friend\" width=\"480\" height=\"640\" class=\"size-full wp-image-11864508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Greg Ashley in his new studio with a friend \u003ccite>(Photo: Courtesy of Greg Ashley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley says he always planned to return to the Bay Area and finish the recording projects he had going before he was evicted, but the short amount of time spent back in Texas also convinced him that he should stay. He was unable to find a cheap house outside of Austin, which is experiencing an influx of tech industry almost on par with the Bay Area, and the summer heat was more brutal than he remembered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the end, living in Austin would just be a mess,” Ashley said. “It’s becoming overpopulated way too fast, just like here, so why am I moving somewhere that’s becoming just like the Bay Area but is 100 degrees out at night?”\u003c/p>\n\u003cp>The living-and-recording situation at the church appears to be ideal for Ashley. He doesn’t have many neighbors, and he rents it from a woodworking friend who works in the back and lets him live there. His friend also signed a ten-year lease, but Ashley doesn’t take anything for granted.\u003c/p>\n\u003cp>“The lease wasn’t up at Ghost Town when they kicked us all out,” he said.\u003c/p>\n\u003cp>Ashley says the new studio sounds just as good as the Creamery and a baptism pool under the stage has potential for some cool reverb effects. The only thing he has to do now is tune the piano that was left in the church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s in tune with itself but it’s exactly a half-step flat,” Ashley said. “Until I get enough money to get it tuned, it’s still functional, but I either have to slow the tape down so the music is a half-step down or the musicians have to play the piano a half-step flat; it’s whatever they choose.”\u003c/p>\n\n",
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"excerpt": "Just a little over a month after he said he was moving to Texas, the psych savant returns to Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Apparently Oakland can push Greg Ashley out, but it can’t keep him away.\u003c/p>\n\u003cp>An Oakland resident since 2002, Ashley ran his Creamery Analog recording studio there for almost a decade. He moved into a girlfriend’s place in Austin back in May when he and his roommates at the \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town\" target=\"_blank\" rel=\"noopener\">Ghost Town Gallery were evicted\u003c/a>. In the weeks after his forced relocation, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/24/adios-greg-ashley-a-look-back-at-the-psychedelic-savants-oakland-years/\" target=\"_blank\" rel=\"noopener\">Ashley said he planned to stay in Texas\u003c/a> — he’s originally from Houston — and start a studio.\u003c/p>\n\u003cp>A month later, Ashley has moved back to Oakland and opened a new studio inside a church just blocks away from Ghost Town. He’s been recording bands there since last week.\u003c/p>\n\u003cp>“It sounds pretty good! I had my first session here last night,” Ashley said last Friday. “The sound came out just as good as ever on the tape, so it’s looking like a positive thing.”\u003c/p>\n\u003cfigure id=\"attachment_11864508\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg\" alt=\"Greg Ashley in his new studio with a friend\" width=\"480\" height=\"640\" class=\"size-full wp-image-11864508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Greg Ashley in his new studio with a friend \u003ccite>(Photo: Courtesy of Greg Ashley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley says he always planned to return to the Bay Area and finish the recording projects he had going before he was evicted, but the short amount of time spent back in Texas also convinced him that he should stay. He was unable to find a cheap house outside of Austin, which is experiencing an influx of tech industry almost on par with the Bay Area, and the summer heat was more brutal than he remembered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the end, living in Austin would just be a mess,” Ashley said. “It’s becoming overpopulated way too fast, just like here, so why am I moving somewhere that’s becoming just like the Bay Area but is 100 degrees out at night?”\u003c/p>\n\u003cp>The living-and-recording situation at the church appears to be ideal for Ashley. He doesn’t have many neighbors, and he rents it from a woodworking friend who works in the back and lets him live there. His friend also signed a ten-year lease, but Ashley doesn’t take anything for granted.\u003c/p>\n\u003cp>“The lease wasn’t up at Ghost Town when they kicked us all out,” he said.\u003c/p>\n\u003cp>Ashley says the new studio sounds just as good as the Creamery and a baptism pool under the stage has potential for some cool reverb effects. The only thing he has to do now is tune the piano that was left in the church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s in tune with itself but it’s exactly a half-step flat,” Ashley said. “Until I get enough money to get it tuned, it’s still functional, but I either have to slow the tape down so the music is a half-step down or the musicians have to play the piano a half-step flat; it’s whatever they choose.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Katori Hall’s \u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hurt Village\u003c/em>\u003c/a>—in a wild, take-it-to-the limit Ubuntu Theater Project production staged at a crumbling, old Baptist church in Oakland — litters the stage with false prophets. You want to warn the play’s 13-year-old, rap-obsessed heroine, Cookie, to run. But the question is to where. Every possibility in front of her is poisoned with the devil’s truth: knowledge and power, but at the cost of one’s soul.\u003c/p>\n\u003cp>Hall’s vision is relentless and harrowing. Cookie’s home, the Memphis housing project “Hurt Village,” is more of a state of mind than an actual place. That it is scheduled to be demolished and all the residents relocated — as actually happened to the real Hurt Village over the course of three years starting in 2000 — only adds to its mythic allure. Here, on the cusp of radical social change, anything can happen, and the brilliant Cookie feels it all.\u003c/p>\n\u003cp>The play is rich in incident and character. There’s the matriarch Big Mama, Cookie’s great-grandmother, a toxic mix of goodness and fatalism; there’s Cookie’s mother, Crank, a recovered crack-addict, desperate to go to cosmetology school so that she can set up her own salon; and then there’s Cookie’s father, Buggy, a returning Iraq war veteran, who’s kind and gentle and elusive. And that’s just the beginning of the village, whose population includes a drug dealing Fed-Ex driver, a feminist stripper, and a drug kingpin with a penchant for philosophical asides and casual sadism.\u003c/p>\n\u003cp>So it’s appropriate that the play opens with Cookie taking on the role of village troubadour, the all-seeing artist — “I spin ghetto tales that’ll make you weep,” she declares in a bracing entrance that matches the bravado of the slickest rappers.\u003cstrong> \u003c/strong>It’s clear that Cookie’s rhyme is provisional, that she’s testing it out, and that it’s not a finished product. The effect is stunning, though — a complex but plain depiction of a child with real artistic instincts, but, not as yet an artist, and, most importantly, not even close to possessing a full adult consciousness. Cookie’s tales exceed her understanding.\u003c/p>\n\u003cfigure id=\"attachment_11858213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11858213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg\" alt=\"Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project's 'Hurt Village.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project’s ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chaz Shermil is astounding as Cookie and it’s her ability to play these in-between, transitional states that gives the young actress’s performance an uncanny realism. I have no idea whether Shermil is an uncommonly poised teenager or an adult with uncommon abilities. Whatever the case, she manages to convey incompleteness in riveting detail. It’s not just great acting, but a realization of the play’s deepest concerns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one of the best scenes of the evening, two neighborhood boys play the dozens and Cookie jumps in and blows them away. It’s not that they’re bad, it’s that she’s just that good: sharp, intelligent, and whippet quick. Everyone can feel it. From her family and her mother’s married lover, to the local drug king pin and the boys she humiliates. In a world of brutal sexual exchange, Cookie is an object of fascination because of her mind. And the question becomes not only what will become of her, but also how do you write about her? Where does she belong in a play like \u003cem>Hurt Village\u003c/em>?\u003c/p>\n\u003cp>The playwright has clearly devoured the western literary canon and its merging with African-American experience. The drama possesses touches of the melodrama of Lorraine Hansberry’s \u003cem>Raisin in the Sun,\u003c/em> the brutal social realism of Richard Wright, James Baldwin’s belief in the exceptional, and the crazed revenge fantasies of early 1970’s Blaxploitation films. And yet there’s something distant in Hall’s approach, as if she sees the limits of storytelling even as she’s telling the story.\u003c/p>\n\u003cp>And this is what makes \u003cem>Hurt Village\u003c/em> so strange and affecting: Cookie, the star of the show, is almost unrepresentable. And for large parts of the play, the character drifts on the periphery, an afterthought to the real drama. In almost successive scenes, both Cookie’s great-grandmother and mother get on their knees and beg. She barely understands how close her father is to going back to war; only this time the battlefield is right outside her door. Lives implode around her, a neighborhood teen dies, and yet none of this registers with her in quite the way we might think.\u003c/p>\n\u003cfigure id=\"attachment_11859572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg\" alt=\"(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects' 'Hurt Village.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects’ ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cookie is free of the trap of history and conventions. Everything is new to her. So she watches, while others preach. We know that everyone in her village is playing a well-worn role, but she doesn’t. So almost everything that’s said to her she treats with extreme consideration. Cookie listens, always trying to jibe what she’s told with what she knows. One might say that this character is continually moving from belief to disenchantment.\u003c/p>\n\u003cp>The Ubuntu production under Nataki Garret’s direction catches the central mystery of Cookie and casts a spell that’s hard to shake. You sit in the beautiful loft of the elegant, rundown Grace Temple Church and you look up to the sky and feel the world’s embrace. And then you watch what happens in this play and that embrace is fractured. Like Cookie, we, too, become disenchanted. No story can account for such vicious, social failures, especially when the prophets of the village, good and bad, are all false.\u003c/p>\n\u003cp>This is the last production of Ubuntu’s “Season of Displacement,” and it takes place in a Baptist church in one of the few corners of Oakland not quite yet touched by gentrification. We’re watching a show about Memphis and the destruction of a community where many, many people suffered. In Oakland, many, many people are suffering today. “These project walls will crumble to the ground, and the tears and bloodshed will soon be forgotten,” Cookie tells us at the end of the play. Has she become a prophet or a realist? Hall hesitates to answer. But if we listen carefully enough, we can certainly hear the screams.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Hurt Village\u003c/em> plays through Sunday, Jul. 31 at the Grace Temple Church in Oakland. For tickets and information please click \u003ca href=\"http://ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Katori Hall’s \u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hurt Village\u003c/em>\u003c/a>—in a wild, take-it-to-the limit Ubuntu Theater Project production staged at a crumbling, old Baptist church in Oakland — litters the stage with false prophets. You want to warn the play’s 13-year-old, rap-obsessed heroine, Cookie, to run. But the question is to where. Every possibility in front of her is poisoned with the devil’s truth: knowledge and power, but at the cost of one’s soul.\u003c/p>\n\u003cp>Hall’s vision is relentless and harrowing. Cookie’s home, the Memphis housing project “Hurt Village,” is more of a state of mind than an actual place. That it is scheduled to be demolished and all the residents relocated — as actually happened to the real Hurt Village over the course of three years starting in 2000 — only adds to its mythic allure. Here, on the cusp of radical social change, anything can happen, and the brilliant Cookie feels it all.\u003c/p>\n\u003cp>The play is rich in incident and character. There’s the matriarch Big Mama, Cookie’s great-grandmother, a toxic mix of goodness and fatalism; there’s Cookie’s mother, Crank, a recovered crack-addict, desperate to go to cosmetology school so that she can set up her own salon; and then there’s Cookie’s father, Buggy, a returning Iraq war veteran, who’s kind and gentle and elusive. And that’s just the beginning of the village, whose population includes a drug dealing Fed-Ex driver, a feminist stripper, and a drug kingpin with a penchant for philosophical asides and casual sadism.\u003c/p>\n\u003cp>So it’s appropriate that the play opens with Cookie taking on the role of village troubadour, the all-seeing artist — “I spin ghetto tales that’ll make you weep,” she declares in a bracing entrance that matches the bravado of the slickest rappers.\u003cstrong> \u003c/strong>It’s clear that Cookie’s rhyme is provisional, that she’s testing it out, and that it’s not a finished product. The effect is stunning, though — a complex but plain depiction of a child with real artistic instincts, but, not as yet an artist, and, most importantly, not even close to possessing a full adult consciousness. Cookie’s tales exceed her understanding.\u003c/p>\n\u003cfigure id=\"attachment_11858213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11858213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg\" alt=\"Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project's 'Hurt Village.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project’s ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chaz Shermil is astounding as Cookie and it’s her ability to play these in-between, transitional states that gives the young actress’s performance an uncanny realism. I have no idea whether Shermil is an uncommonly poised teenager or an adult with uncommon abilities. Whatever the case, she manages to convey incompleteness in riveting detail. It’s not just great acting, but a realization of the play’s deepest concerns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one of the best scenes of the evening, two neighborhood boys play the dozens and Cookie jumps in and blows them away. It’s not that they’re bad, it’s that she’s just that good: sharp, intelligent, and whippet quick. Everyone can feel it. From her family and her mother’s married lover, to the local drug king pin and the boys she humiliates. In a world of brutal sexual exchange, Cookie is an object of fascination because of her mind. And the question becomes not only what will become of her, but also how do you write about her? Where does she belong in a play like \u003cem>Hurt Village\u003c/em>?\u003c/p>\n\u003cp>The playwright has clearly devoured the western literary canon and its merging with African-American experience. The drama possesses touches of the melodrama of Lorraine Hansberry’s \u003cem>Raisin in the Sun,\u003c/em> the brutal social realism of Richard Wright, James Baldwin’s belief in the exceptional, and the crazed revenge fantasies of early 1970’s Blaxploitation films. And yet there’s something distant in Hall’s approach, as if she sees the limits of storytelling even as she’s telling the story.\u003c/p>\n\u003cp>And this is what makes \u003cem>Hurt Village\u003c/em> so strange and affecting: Cookie, the star of the show, is almost unrepresentable. And for large parts of the play, the character drifts on the periphery, an afterthought to the real drama. In almost successive scenes, both Cookie’s great-grandmother and mother get on their knees and beg. She barely understands how close her father is to going back to war; only this time the battlefield is right outside her door. Lives implode around her, a neighborhood teen dies, and yet none of this registers with her in quite the way we might think.\u003c/p>\n\u003cfigure id=\"attachment_11859572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg\" alt=\"(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects' 'Hurt Village.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects’ ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cookie is free of the trap of history and conventions. Everything is new to her. So she watches, while others preach. We know that everyone in her village is playing a well-worn role, but she doesn’t. So almost everything that’s said to her she treats with extreme consideration. Cookie listens, always trying to jibe what she’s told with what she knows. One might say that this character is continually moving from belief to disenchantment.\u003c/p>\n\u003cp>The Ubuntu production under Nataki Garret’s direction catches the central mystery of Cookie and casts a spell that’s hard to shake. You sit in the beautiful loft of the elegant, rundown Grace Temple Church and you look up to the sky and feel the world’s embrace. And then you watch what happens in this play and that embrace is fractured. Like Cookie, we, too, become disenchanted. No story can account for such vicious, social failures, especially when the prophets of the village, good and bad, are all false.\u003c/p>\n\u003cp>This is the last production of Ubuntu’s “Season of Displacement,” and it takes place in a Baptist church in one of the few corners of Oakland not quite yet touched by gentrification. We’re watching a show about Memphis and the destruction of a community where many, many people suffered. In Oakland, many, many people are suffering today. “These project walls will crumble to the ground, and the tears and bloodshed will soon be forgotten,” Cookie tells us at the end of the play. Has she become a prophet or a realist? Hall hesitates to answer. But if we listen carefully enough, we can certainly hear the screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Hurt Village\u003c/em> plays through Sunday, Jul. 31 at the Grace Temple Church in Oakland. For tickets and information please click \u003ca href=\"http://ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dede Wilsey is a powerful fundraiser and donor on the San Francisco arts scene. But her 20-year tenure as president and four-year tenure as CEO of the board of the Fine Arts Museums of San Francisco (FAMSF) — collectively known as the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young\u003c/a> Museum and the \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">Legion of Honor\u003c/a> — has been tumultuous.\u003c/p>\n\u003cp>And now it’s over.\u003c/p>\n\u003cp>Wilsey announced her resignation as board chair of the Fine Arts Museums of San Francisco, the \u003cem>\u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/Dede-Wilsey-leaving-top-museums-job-amid-strife-8406308.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>\u003c/em> reported on Sunday. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>A long scandal\u003c/strong>\u003c/p>\n\u003cp>Wilsey’s exit follows a $2 million settlement payout, the latest turn in a scandal that’s been stewing since former chief financial officer Michele Gutierrez filed a lawsuit last fall. Gutierrez alleged Wilsey forced her out for blowing the whistle on the board chair’s decision to spend nearly half a million dollars of the museum’s money to help a former staffer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the time, Wilsey claimed she didn’t need the board’s approval to authorize a $450,000 loan to Bill Huggins, who retired while struggling with a heart condition. His wife, museum registrar Therese Chen, worked closely with Wilsey before going on leave to care for him. Huggins and Chen both died shortly after.\u003c/p>\n\u003cp>According to sources who prefer to remain unnamed, Wilsey initially tried to encourage fellow board members to help pay back the loan. But that back-fired. Four board members resigned, including former San Francisco city attorney Louise Renne and powerhouse philanthropist Bernard Osher. In April, FAMSF announced the $450,000 loan would be repaid by anonymous donors.\u003c/p>\n\u003cp>Then the state attorney general’s office and city controller’s offices launched investigations. In May, c\u003ca href=\"http://sfcontroller.org/ben-rosenfield-controller\" target=\"_blank\" rel=\"noopener\">ontroller Ben Rosenfield\u003c/a> told KQED his office moved up its periodic payroll audit to address growing interest in FAMSF management. Now Rosenfield says he expects to issue a report some time in the coming weeks. The attorney general’s office confirmed Monday that its investigation is ongoing.\u003c/p>\n\u003cp>The city contributes roughly one fifth of FAMSF’s budget. A \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=43144\" target=\"_blank\" rel=\"noopener\">city performance audit raised concerns \u003c/a>about the governance structure back in 2012. But only now, the \u003cem>Chronicle\u003c/em> reports, is there talk of rewriting of the board’s bylaws to eliminate a provision that allowed Wilsey to serve as board president for life — something the attorney general’s office suggested.\u003c/p>\n\u003cp>\u003cstrong>Generous supporter\u003c/strong>\u003c/p>\n\u003cp>Despite the issues that arose during her tenure as FAMSF board chair, Wilsey herself is one of San Francisco’s most loyal and generous philanthropists, and she sits on the boards of the \u003ca href=\"http://sfopera.com/about-us/diane-b.-wilsey-center-for-opera/a-dream-come-true/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>, the \u003ca href=\"https://www.sfballet.org/about/board\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>, and the \u003ca href=\"http://sfwmpac.org/trustees\" target=\"_blank\" rel=\"noopener\">San Francisco War Memorial\u003c/a>, in addition to FAMSF\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There are very few philanthropic organizations that have not received money from Dede,” said one FAMSF board member who preferred to remain anonymous. (Full disclosure: KQED is one of the many Bay Area organizations that receives regular donations from Wilsey.)\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/finearts/sites/default/files/afamsfbt.16.06.01.pdf\" target=\"_blank\" rel=\"noopener\">[contextly_sidebar id=”q5ABOu7PeDzqcdvNVsywLxw7Od9Nkkt6″]\u003c/a>\u003c/p>\n\u003cp>Wilsey is largely responsible for raising $190 million dollars — some of it her own money — to build the present site for the de Young Museum in Golden Gate Park. She’s worked similar fundraising wonders for \u003ca href=\"http://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a>, \u003ca href=\"https://www.ucsf.edu/news/2007/02/5529/ucsf-medical-center-names-dede-wilsey-lead-new-philanthropic-effort\" target=\"_blank\" rel=\"noopener\">UCSF Children’s Hospital\u003c/a> and the \u003ca href=\"http://www.icacademy.org/\" target=\"_blank\" rel=\"noopener\">Immaculate Conception Academy\u003c/a> in the Mission.\u003c/p>\n\u003cp>\u003cstrong>Culture of “No Comment.”\u003c/strong>\u003c/p>\n\u003cp>The Fine Arts Museums of San Francisco are \u003ca href=\"http://www.famsf.org/files/famsf_factchart_021414_0.pdf\" target=\"_blank\" rel=\"noopener\">governed by three Boards of Trustees\u003c/a>: the Fine Arts Museums of San Francisco, the Fine Arts Museums Foundation, and the Corporation of the Fine Arts Museums. The Fine Arts Museums of San Francisco is the most influential of the three; its 43 board members are by varying degrees rich, powerful and well-connected.\u003c/p>\n\u003cp>According to the \u003cem>San Francisco\u003c/em> \u003cem>Chronicle\u003c/em>, Wilsey will stay on the FAMSF board, albeit in a reduced capacity. Her continued relationship with the institution and deep and broad involvement in the local arts scene thus makes it difficult to get anyone to go on the record about Wilsey’s resignation, her management style or the events of the last year.\u003c/p>\n\u003cp>KQED reached out to no less than 19 potential sources for comment on Monday, from FAMSF insiders to those only tangentially-related to the San Francisco socialite and arts doyenne. Colin Bailey,\u003ca href=\"http://www.nytimes.com/2014/10/26/arts/artsspecial/colin-bailey-revamps-san-francisco-art-museums.html\"> Wilsey’s previous choice for director,\u003c/a> stayed only two years before decamping for the \u003ca href=\"http://www.themorgan.org/\" target=\"_blank\" rel=\"noopener\">Morgan Library & Museum\u003c/a> in New York. He declined to comment. \u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">Max Hollein\u003c/a>, the new director as of Jun. 1, did not respond to a request for comment. FAMSF did not respond to a request for comment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GXrvZyuTyDs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilsey will be replaced at the next board meeting in October by two co-chairs — former Visa president and CEO Carl Pascarella and Jack Calhoun, former president of Banana Republic. The \u003cem>Chronicle \u003c/em>article says both of these men are close to Wilsey.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dede Wilsey is a powerful fundraiser and donor on the San Francisco arts scene. But her 20-year tenure as president and four-year tenure as CEO of the board of the Fine Arts Museums of San Francisco (FAMSF) — collectively known as the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young\u003c/a> Museum and the \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">Legion of Honor\u003c/a> — has been tumultuous.\u003c/p>\n\u003cp>And now it’s over.\u003c/p>\n\u003cp>Wilsey announced her resignation as board chair of the Fine Arts Museums of San Francisco, the \u003cem>\u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/Dede-Wilsey-leaving-top-museums-job-amid-strife-8406308.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>\u003c/em> reported on Sunday. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>A long scandal\u003c/strong>\u003c/p>\n\u003cp>Wilsey’s exit follows a $2 million settlement payout, the latest turn in a scandal that’s been stewing since former chief financial officer Michele Gutierrez filed a lawsuit last fall. Gutierrez alleged Wilsey forced her out for blowing the whistle on the board chair’s decision to spend nearly half a million dollars of the museum’s money to help a former staffer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the time, Wilsey claimed she didn’t need the board’s approval to authorize a $450,000 loan to Bill Huggins, who retired while struggling with a heart condition. His wife, museum registrar Therese Chen, worked closely with Wilsey before going on leave to care for him. Huggins and Chen both died shortly after.\u003c/p>\n\u003cp>According to sources who prefer to remain unnamed, Wilsey initially tried to encourage fellow board members to help pay back the loan. But that back-fired. Four board members resigned, including former San Francisco city attorney Louise Renne and powerhouse philanthropist Bernard Osher. In April, FAMSF announced the $450,000 loan would be repaid by anonymous donors.\u003c/p>\n\u003cp>Then the state attorney general’s office and city controller’s offices launched investigations. In May, c\u003ca href=\"http://sfcontroller.org/ben-rosenfield-controller\" target=\"_blank\" rel=\"noopener\">ontroller Ben Rosenfield\u003c/a> told KQED his office moved up its periodic payroll audit to address growing interest in FAMSF management. Now Rosenfield says he expects to issue a report some time in the coming weeks. The attorney general’s office confirmed Monday that its investigation is ongoing.\u003c/p>\n\u003cp>The city contributes roughly one fifth of FAMSF’s budget. A \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=43144\" target=\"_blank\" rel=\"noopener\">city performance audit raised concerns \u003c/a>about the governance structure back in 2012. But only now, the \u003cem>Chronicle\u003c/em> reports, is there talk of rewriting of the board’s bylaws to eliminate a provision that allowed Wilsey to serve as board president for life — something the attorney general’s office suggested.\u003c/p>\n\u003cp>\u003cstrong>Generous supporter\u003c/strong>\u003c/p>\n\u003cp>Despite the issues that arose during her tenure as FAMSF board chair, Wilsey herself is one of San Francisco’s most loyal and generous philanthropists, and she sits on the boards of the \u003ca href=\"http://sfopera.com/about-us/diane-b.-wilsey-center-for-opera/a-dream-come-true/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>, the \u003ca href=\"https://www.sfballet.org/about/board\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>, and the \u003ca href=\"http://sfwmpac.org/trustees\" target=\"_blank\" rel=\"noopener\">San Francisco War Memorial\u003c/a>, in addition to FAMSF\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There are very few philanthropic organizations that have not received money from Dede,” said one FAMSF board member who preferred to remain anonymous. (Full disclosure: KQED is one of the many Bay Area organizations that receives regular donations from Wilsey.)\u003c/p>\n\u003cp>\u003ca href=\"http://sfgov.org/finearts/sites/default/files/afamsfbt.16.06.01.pdf\" target=\"_blank\" rel=\"noopener\">\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/a>\u003c/p>\n\u003cp>Wilsey is largely responsible for raising $190 million dollars — some of it her own money — to build the present site for the de Young Museum in Golden Gate Park. She’s worked similar fundraising wonders for \u003ca href=\"http://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a>, \u003ca href=\"https://www.ucsf.edu/news/2007/02/5529/ucsf-medical-center-names-dede-wilsey-lead-new-philanthropic-effort\" target=\"_blank\" rel=\"noopener\">UCSF Children’s Hospital\u003c/a> and the \u003ca href=\"http://www.icacademy.org/\" target=\"_blank\" rel=\"noopener\">Immaculate Conception Academy\u003c/a> in the Mission.\u003c/p>\n\u003cp>\u003cstrong>Culture of “No Comment.”\u003c/strong>\u003c/p>\n\u003cp>The Fine Arts Museums of San Francisco are \u003ca href=\"http://www.famsf.org/files/famsf_factchart_021414_0.pdf\" target=\"_blank\" rel=\"noopener\">governed by three Boards of Trustees\u003c/a>: the Fine Arts Museums of San Francisco, the Fine Arts Museums Foundation, and the Corporation of the Fine Arts Museums. The Fine Arts Museums of San Francisco is the most influential of the three; its 43 board members are by varying degrees rich, powerful and well-connected.\u003c/p>\n\u003cp>According to the \u003cem>San Francisco\u003c/em> \u003cem>Chronicle\u003c/em>, Wilsey will stay on the FAMSF board, albeit in a reduced capacity. Her continued relationship with the institution and deep and broad involvement in the local arts scene thus makes it difficult to get anyone to go on the record about Wilsey’s resignation, her management style or the events of the last year.\u003c/p>\n\u003cp>KQED reached out to no less than 19 potential sources for comment on Monday, from FAMSF insiders to those only tangentially-related to the San Francisco socialite and arts doyenne. Colin Bailey,\u003ca href=\"http://www.nytimes.com/2014/10/26/arts/artsspecial/colin-bailey-revamps-san-francisco-art-museums.html\"> Wilsey’s previous choice for director,\u003c/a> stayed only two years before decamping for the \u003ca href=\"http://www.themorgan.org/\" target=\"_blank\" rel=\"noopener\">Morgan Library & Museum\u003c/a> in New York. He declined to comment. \u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">Max Hollein\u003c/a>, the new director as of Jun. 1, did not respond to a request for comment. FAMSF did not respond to a request for comment.\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/GXrvZyuTyDs'\n title='//www.youtube.com/embed/GXrvZyuTyDs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Wilsey will be replaced at the next board meeting in October by two co-chairs — former Visa president and CEO Carl Pascarella and Jack Calhoun, former president of Banana Republic. The \u003cem>Chronicle \u003c/em>article says both of these men are close to Wilsey.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>High Times\u003c/em> magazine says it is “awaiting an explanation” from Lil Wayne’s representatives after the rapper’s performance at its Cannabis Cup event in Southern Calif.\u003c/p>\n\u003cp>The magazine says in a statement released Sunday that Wayne was “contractually committed to performing for an hour” at the Medical Cannabis Concentrates Cup on Saturday night, but left the stage after just four songs. The statement says the move was “in total disregard for his fans.”\u003c/p>\n\u003cp>Wayne was billed as the headliner of the three-day event in San Bernardino, California. The rapper promoted the event on his social media accounts last week.\u003c/p>\n\u003cp>A publicist for the entertainer didn’t immediately respond to a request for comment from The Associated Press on Sunday.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>High Times\u003c/em> magazine says it is “awaiting an explanation” from Lil Wayne’s representatives after the rapper’s performance at its Cannabis Cup event in Southern Calif.\u003c/p>\n\u003cp>The magazine says in a statement released Sunday that Wayne was “contractually committed to performing for an hour” at the Medical Cannabis Concentrates Cup on Saturday night, but left the stage after just four songs. The statement says the move was “in total disregard for his fans.”\u003c/p>\n\u003cp>Wayne was billed as the headliner of the three-day event in San Bernardino, California. The rapper promoted the event on his social media accounts last week.\u003c/p>\n\u003cp>A publicist for the entertainer didn’t immediately respond to a request for comment from The Associated Press on Sunday.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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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
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"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"
},
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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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"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",
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"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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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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