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"content": "\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Radio Station, Born From the Ashes of KUSF, Granted FM Frequency",
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"content": "\u003cp>More than five years after 90.3 KUSF was taken off the air, its former staffers have succeeded in securing another FM frequency and will be bringing back its version of community programming to the radio. \u003c/p>\n\u003cp>Last Friday the Federal Communications Commission (FCC) selected \u003ca href=\"http://savekusf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Radio\u003c/a> (SFCR), a non-profit organization started by KUSF staffers, and San Francisco Public Press to run low-power FM stations inside city limits. The two organizations will have to share a frequency, 102.5 FM, but the decision means that, barring any appeals by groups that were denied licenses, the once influential San Francisco radio station will be back on the air. \u003c/p>\n\u003cp>\u003ca href=\"http://savekusf.org/about-us/history\">KUSF was started in 1963\u003c/a> at the University of San Francisco (USF) as a campus-only, student-run AM station, until it was offered an FM station ten years later. It then became a noncommercial educational station, and its programming was shared by students and local residents, who mixed a wide variety of music with news and cultural shows, many of which were in other languages (Chinese, Polish and 11 others).\u003c/p>\n\u003cfigure id=\"attachment_11759421\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg\" alt=\"The SFCR logo\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11759421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The SFCR logo\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re serving parts of the community that haven’t really had a broadcast outlet,” SFCR treasurer Damin Esper said. “There are so many symbiotic relationships there. We broadcasted a show in Polish; where is Polish on the commercial or non-commercial radio dial now?” \u003c/p>\n\u003cp>The station began 24-hour programming in 1981, and would go on to receive several awards and recognition for its work, including having San Francisco Mayor Willie Brown declare April 25, 1998 — the station’s 35th birthday — as “KUSF 90.3 FM Stereo Day In San Francisco.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KUSF was suddenly taken off the air back in January of 2011 after USF sold its license to a University of Southern California-owned corporation that runs classical stations. KUSF’s old frequency is now occupied by KDFC, the “Bay Area’s listener-supported classical radio station.”\u003c/p>\n\u003cp>Former KUSF staffers \u003ca href=\"http://savekusf.org/news/appeals-of-proposed-kusf-90-3-fm-sale-filed-with-fcc.html\" target=\"_blank\" rel=\"noopener\">fought the sale \u003c/a> but lost, yet they kept the programming alive with an online station called “KUSF in Exile.” Then in 2013, the station applied for a FM license and after three years, a decision was in their favor.\u003c/p>\n\u003cp>Now the two groups — SFCR and San Francisco Public Press — have until July 22 to determine which group will air at what times and if they don’t, the FCC will decide for them. They will also have two years to set up a transmitter and raise funds for all the new equipment, which is a challenge since the signal won’t reach far beyond the city limits. \u003c/p>\n\u003cp>“We aren’t going to get millions of people listening but we’re going to hit some groups that aren’t franchised by broadcast radio anywhere else, and that’s kind-of the intent,” Esper said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Correction:\u003c/b> This article originally stated that the SFCR and San Francisco Public Press had two years to decide on what times their programs would air — they actually only have until July 22. They have two years to begin broadcasting.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than five years after 90.3 KUSF was taken off the air, its former staffers have succeeded in securing another FM frequency and will be bringing back its version of community programming to the radio. \u003c/p>\n\u003cp>Last Friday the Federal Communications Commission (FCC) selected \u003ca href=\"http://savekusf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Radio\u003c/a> (SFCR), a non-profit organization started by KUSF staffers, and San Francisco Public Press to run low-power FM stations inside city limits. The two organizations will have to share a frequency, 102.5 FM, but the decision means that, barring any appeals by groups that were denied licenses, the once influential San Francisco radio station will be back on the air. \u003c/p>\n\u003cp>\u003ca href=\"http://savekusf.org/about-us/history\">KUSF was started in 1963\u003c/a> at the University of San Francisco (USF) as a campus-only, student-run AM station, until it was offered an FM station ten years later. It then became a noncommercial educational station, and its programming was shared by students and local residents, who mixed a wide variety of music with news and cultural shows, many of which were in other languages (Chinese, Polish and 11 others).\u003c/p>\n\u003cfigure id=\"attachment_11759421\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg\" alt=\"The SFCR logo\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11759421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The SFCR logo\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re serving parts of the community that haven’t really had a broadcast outlet,” SFCR treasurer Damin Esper said. “There are so many symbiotic relationships there. We broadcasted a show in Polish; where is Polish on the commercial or non-commercial radio dial now?” \u003c/p>\n\u003cp>The station began 24-hour programming in 1981, and would go on to receive several awards and recognition for its work, including having San Francisco Mayor Willie Brown declare April 25, 1998 — the station’s 35th birthday — as “KUSF 90.3 FM Stereo Day In San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KUSF was suddenly taken off the air back in January of 2011 after USF sold its license to a University of Southern California-owned corporation that runs classical stations. KUSF’s old frequency is now occupied by KDFC, the “Bay Area’s listener-supported classical radio station.”\u003c/p>\n\u003cp>Former KUSF staffers \u003ca href=\"http://savekusf.org/news/appeals-of-proposed-kusf-90-3-fm-sale-filed-with-fcc.html\" target=\"_blank\" rel=\"noopener\">fought the sale \u003c/a> but lost, yet they kept the programming alive with an online station called “KUSF in Exile.” Then in 2013, the station applied for a FM license and after three years, a decision was in their favor.\u003c/p>\n\u003cp>Now the two groups — SFCR and San Francisco Public Press — have until July 22 to determine which group will air at what times and if they don’t, the FCC will decide for them. They will also have two years to set up a transmitter and raise funds for all the new equipment, which is a challenge since the signal won’t reach far beyond the city limits. \u003c/p>\n\u003cp>“We aren’t going to get millions of people listening but we’re going to hit some groups that aren’t franchised by broadcast radio anywhere else, and that’s kind-of the intent,” Esper said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Correction:\u003c/b> This article originally stated that the SFCR and San Francisco Public Press had two years to decide on what times their programs would air — they actually only have until July 22. They have two years to begin broadcasting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B.",
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"headTitle": "Cy and David’s Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio//2016/06/TDL20160701.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=oacUgWXrqwc\u003c/p>\n\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4c-lIkZ9HRc\u003c/p>\n\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=drzmETZGEt4\u003c/p>\n\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=isP8pNby39A\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9vaoIH__70\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/oacUgWXrqwc'\n title='//www.youtube.com/embed/oacUgWXrqwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4c-lIkZ9HRc'\n title='//www.youtube.com/embed/4c-lIkZ9HRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/drzmETZGEt4'\n title='//www.youtube.com/embed/drzmETZGEt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/isP8pNby39A'\n title='//www.youtube.com/embed/isP8pNby39A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D9vaoIH__70'\n title='//www.youtube.com/embed/D9vaoIH__70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-new-apple-patent-could-block-fans-from-taping-at-shows",
"title": "A New Apple Patent Could Block Fans from Taping at Shows",
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"headTitle": "A New Apple Patent Could Block Fans from Taping at Shows | KQED",
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"content": "\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artist \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and political commentator \u003ca href=\"http://www.vanjones.net/\" target=\"_blank\" rel=\"noopener\">Van Jones\u003c/a> have a lot in common. They both came up through the grassroots activism scene of the Bay Area in the late 1990s. They both run non-profit organizations/initiatives — respectively, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> and \u003ca href=\"http://www.greenforall.org/\" target=\"_blank\" rel=\"noopener\">Green for All \u003c/a>— that seek to provide environmental justice for communities of color. And they’re both on a mission to shake up the environmental movement by putting artists from diverse backgrounds at the forefront of the drive to combat global warming.\u003c/p>\n\u003cp>“For so long, when you think of environmentalists, you think of a white guy in Birkenstocks, and yet communities of color have dirtier air, dirtier water, refineries,” Rodriguez says. “I think in the climate movement we need to make room for more artists to tell stories from the front lines that lead us to action.”\u003c/p>\n\u003cp>Jones and Rodriguez strongly believe that artists coming out of struggling neighborhoods are uniquely equipped to deliver a powerful message about the environment. The traditional ways of talking about climate change are just not getting across. Conversely, comedians, visual artists, writers and other creatives know how to connect the hard facts with people’s hearts.\u003c/p>\n\u003cp>“When we talk about global warming, we have people who are paid millions of dollars to do polls and communicate, but their messages don’t work,” Jones says. “But you get Boots Riley, one of the great rappers, to describe the problem — that’s much more effective.”\u003c/p>\n\u003cp>KQED Arts invited Jones and Rodriguez to share their thoughts about art and the environment in a conversation that was recorded at Rodriguez’s studio in West Oakland on Friday, Jun. 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the video, here is an extended audio version of the interview, edited from the original conversation.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271482359″ 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 style=\"text-align: right\">\u003cem>–Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">The above video features the following artists and their work:\u003c/p>\n\u003cul>\n\u003cli>CultureStrike and JustSeeds \u003cem>We are the Storm\u003c/em> climate change portfolio, featuring work by Favianna Rodriguez, Meredith Stern, and Nicolas Medin\u003c/li>\n\u003cli>\u003cem>Brother Earth\u003c/em>, featuring Boots Riley and Josh Healey, produced by Movement Generation\u003c/li>\n\u003cli>\u003cem>Climate Warrior\u003c/em>, produced by CultureStrike\u003c/li>\n\u003cli>\u003cem>Land,\u003c/em> by Lares Feliciano\u003c/li>\n\u003cli>\u003cem>Into the Streets \u003c/em>produced by Meerkat Media Collective\u003c/li>\n\u003cli>Coverage of the Climate Ribbon Project\u003c/li>\n\u003cli>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and political commentator \u003ca href=\"http://www.vanjones.net/\" target=\"_blank\" rel=\"noopener\">Van Jones\u003c/a> have a lot in common. They both came up through the grassroots activism scene of the Bay Area in the late 1990s. They both run non-profit organizations/initiatives — respectively, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> and \u003ca href=\"http://www.greenforall.org/\" target=\"_blank\" rel=\"noopener\">Green for All \u003c/a>— that seek to provide environmental justice for communities of color. And they’re both on a mission to shake up the environmental movement by putting artists from diverse backgrounds at the forefront of the drive to combat global warming.\u003c/p>\n\u003cp>“For so long, when you think of environmentalists, you think of a white guy in Birkenstocks, and yet communities of color have dirtier air, dirtier water, refineries,” Rodriguez says. “I think in the climate movement we need to make room for more artists to tell stories from the front lines that lead us to action.”\u003c/p>\n\u003cp>Jones and Rodriguez strongly believe that artists coming out of struggling neighborhoods are uniquely equipped to deliver a powerful message about the environment. The traditional ways of talking about climate change are just not getting across. Conversely, comedians, visual artists, writers and other creatives know how to connect the hard facts with people’s hearts.\u003c/p>\n\u003cp>“When we talk about global warming, we have people who are paid millions of dollars to do polls and communicate, but their messages don’t work,” Jones says. “But you get Boots Riley, one of the great rappers, to describe the problem — that’s much more effective.”\u003c/p>\n\u003cp>KQED Arts invited Jones and Rodriguez to share their thoughts about art and the environment in a conversation that was recorded at Rodriguez’s studio in West Oakland on Friday, Jun. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the video, here is an extended audio version of the interview, edited from the original conversation.\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/271482359″&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/271482359″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cem>–Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">The above video features the following artists and their work:\u003c/p>\n\u003cul>\n\u003cli>CultureStrike and JustSeeds \u003cem>We are the Storm\u003c/em> climate change portfolio, featuring work by Favianna Rodriguez, Meredith Stern, and Nicolas Medin\u003c/li>\n\u003cli>\u003cem>Brother Earth\u003c/em>, featuring Boots Riley and Josh Healey, produced by Movement Generation\u003c/li>\n\u003cli>\u003cem>Climate Warrior\u003c/em>, produced by CultureStrike\u003c/li>\n\u003cli>\u003cem>Land,\u003c/em> by Lares Feliciano\u003c/li>\n\u003cli>\u003cem>Into the Streets \u003c/em>produced by Meerkat Media Collective\u003c/li>\n\u003cli>Coverage of the Climate Ribbon Project\u003c/li>\n\u003cli>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Do you hear that dull roar in the distance? That's the sound of \u003cem>Serial\u003c/em> fans -- myself included -- losing their minds over the news that, after a long legal process and 16 years behind bars, a Baltimore judge has just vacated the murder conviction of Adnan Syed and \u003ca href=\"http://www.wbaltv.com/blob/view/-/40300004/data/1/-/ncjctvz/-/Court-order-for-new-Syed-trial.pdf\">granted him a new trial\u003c/a>.\u003c/p>\n\u003cp>Adnan's attorney is pretty pleased with the news:\u003c/p>\n\u003cp>https://twitter.com/CJBrownLaw/status/748612948747128832\u003c/p>\n\u003cp>This new ruling is the indirect result of Sarah Koenig's \u003cem>Serial\u003c/em> podcast and the direct result of a recent hearing, which involved testimony from a new alibi, Asia McClain, as well as new cell phone tower information not used during the original trial.\u003c/p>\n\u003cp>Read all about the specifics of that hearing:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/02/04/serial-everything-you-need-to-know-about-adnans-new-hearing-day-1/\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/02/05/serial-everything-you-need-to-know-about-adnans-new-hearing-day-2/\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/02/06/serial-everything-you-need-to-know-about-adnans-new-hearing-day-3/\u003c/p>\n\u003cp>No date has yet been set for this new trial.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until then, \u003ca href=\"http://ww2.kqed.org/pop/tag/serial/\">read up on all our past \u003cem>Serial\u003c/em> coverage\u003c/a> (there's a lot).\u003c/p>\n\n",
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"content": "\u003cp>Some acts reinvent their musical forms, some reinvigorate theirs. We’ve got one of each here, plus a bonus track from a young artist ready to make her mark.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/271446104\" 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>\u003cb>DJ Shadow, “The Mountain Will Fall”\u003c/b>\u003c/p>\n\u003cp>When it was released 20 years ago, \u003ca href=\"http://djshadow.com/home/\">DJ Shadow\u003c/a>’s “Endtroducing” was a game-changer, not just credited as the first album entirely constructed of samples (recognized as such by the Guinness folks), but a thrilling listen, deftly and laboriously built \u003ci>musique concrete\u003c/i> that took us through arcs and waves of moods and sounds, sometimes dark and moody, sometimes joyous and sometimes jolting.\u003c/p>\n\u003cp>With “The Mountain Will Fall,” only his fourth proper album since that debut, Shadow (a.k.a. Josh Davis), seems content just to play the game, not change it. That’s okay. He’s still got some moves. Moves that might make you move. Take “Nobody Speak,” on which he teams with New York hip-hop superduo Run the Jewels (El-P and Killer Mike). It’s not the quick-cut found-sound collage of yore, but it’s an impressive assembly nonetheless, with the edgy, siege-mentality raps on top of a kind of surf-soul-funk-brass melange. “The Sideshow,” featuring Ernie Fresh, also delivers solid hip-hop punch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere are found-sound experiments (“Three Ralphs” mixing some cut-up film dialogue and, well, shadowy sci-fi/horror sounds), elasticized beat play and sonic chop-shop reassemblies intersect hip-hop, EDM and sound manipulation. Some is coherent and engaging, some not so much, perhaps pointedly. “Ashes to Oceans,” for example, alternates between shapeless blips and a melancholy elegy with a somber trumpet line, fading away to the sound of waves lapping a shore behind a tinkling piano.\u003c/p>\n\u003cp>If there’s a dominant mood, it’s captured in the title, and the title song, a sense of a world closing in, of unsure footing, of precariousness. Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lbuqo6NfVB8\u003c/p>\n\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. So somehow it’s refreshing now and then to hear a band that seems to want to reach people, to write some anthems. Even better when they have not just the moxie, but the skills to do it.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.thedeadships.com\">the Dead Ships\u003c/a>.\u003c/p>\n\u003cp>Rock energy, sing-along chorus hooks, a desire to both engage and entertain. Think the Foo Fighters with more bite. That’s a compliment. Listen to “Spun Yarns.” You hear that, right?\u003c/p>\n\u003cp>The yarns spun here are, as the album title implies, of and from the city, home to singer-guitarist Devlin McClusky and drummer Chris Spindelilus, founders and core of the band. And, as the title also implies, it’s a relationship of mixed feelings, like being stuck in a 101 traffic jam while enjoying an undeniably beautiful day. Perversely, perhaps, the cover picture is a shot of that very thoroughfare with traffic flowing freely. Sure, the album title, and arguably much of the mood, reference a statistical preponderance of people committing suicide from the Golden Gate Bridge do so facing the city of San Francisco. Sure, McClusky is a transplant from another complex metropolis, Chicago. But this is an L.A. album.\u003c/p>\n\u003cp>We roam from “Los Feliz” in the shadows of Griffith Park to the twisty turns of the “Canyon” (Laurel? Coldwater? Topanga?), the band prowling and howling like a pack of coyotes dodging the encroaching gentry. The tensions of those transitions thread through the sounds, the restless, messy uncertainty of vying to stake a claim to a city in which it’s increasingly hard to stake a claim.\u003c/p>\n\u003cp>Produced with crisp intensity by Brendan Canning (of Canada’s Broken Social Scene), “Citycide” justifies the buzz the band’s got from strong support of radio giant KROQ and a Coachella slot this year. It’s not a statement on the level of X’s “Los Angeles” debut a few rock generations ago, or even Guns ’N Roses’ “Appetite for Destruction” a little later. But it’s a statement. That’s noteworthy in itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LP_MIw8Lvrk\u003c/p>\n\u003cp>\u003cb>Bonus track: Jay Som, “I Think You’re Alright”\u003c/b>\u003c/p>\n\u003cp>“I’ll wipe your blood off the concrete, take you to the party, we’ll drink until our brains black-out….” Well, \u003ci>someone’s\u003c/i> not alright. Young Bay Area singer Jay Som (real name: Melina Duterte) previews her upcoming debut album with a single that neatly captures how rose-colored glasses make it hard to see red flags. Her calm demeanor is perfect, though the music gradually shows some cracks in the mirror, and fuzzy, ‘70s-ish guitar solo at the end morphs into a, what’s the term? Hot mess? Perfect. Som/Duterte has thus far only released music on Bandcamp, including some un- or semi-finished songs from over the last few years. Even that is strong and worth exploring, and it's gotten her enough attention that she's now on tour with hot artists Mitski and Japanese Breakfast, having put together a band to expand her music on stage. Eager to hear whatever is next from her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://soundcloud.com/fatpossum/jay-som-i-think-youre-alright\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere are found-sound experiments (“Three Ralphs” mixing some cut-up film dialogue and, well, shadowy sci-fi/horror sounds), elasticized beat play and sonic chop-shop reassemblies intersect hip-hop, EDM and sound manipulation. Some is coherent and engaging, some not so much, perhaps pointedly. “Ashes to Oceans,” for example, alternates between shapeless blips and a melancholy elegy with a somber trumpet line, fading away to the sound of waves lapping a shore behind a tinkling piano.\u003c/p>\n\u003cp>If there’s a dominant mood, it’s captured in the title, and the title song, a sense of a world closing in, of unsure footing, of precariousness. Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\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/lbuqo6NfVB8'\n title='//www.youtube.com/embed/lbuqo6NfVB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. So somehow it’s refreshing now and then to hear a band that seems to want to reach people, to write some anthems. Even better when they have not just the moxie, but the skills to do it.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.thedeadships.com\">the Dead Ships\u003c/a>.\u003c/p>\n\u003cp>Rock energy, sing-along chorus hooks, a desire to both engage and entertain. Think the Foo Fighters with more bite. That’s a compliment. Listen to “Spun Yarns.” You hear that, right?\u003c/p>\n\u003cp>The yarns spun here are, as the album title implies, of and from the city, home to singer-guitarist Devlin McClusky and drummer Chris Spindelilus, founders and core of the band. And, as the title also implies, it’s a relationship of mixed feelings, like being stuck in a 101 traffic jam while enjoying an undeniably beautiful day. Perversely, perhaps, the cover picture is a shot of that very thoroughfare with traffic flowing freely. 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"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Environmentalists are demanding that one of the most prized fishes on the planet be listed as an endangered species.\u003c/p>\n\u003cp>Last week, about a dozen environmental groups — including Greenpeace, the Center for Biological Diversity, Defenders of Wildlife and Earthjustice — formally petitioned the U.S. National Marine Fisheries Service to consider listing the Pacific bluefin tuna as endangered under the Endangered Species Act. That status mandates the highest levels of protection from harm.\u003c/p>\n\u003cp>Other endangered species include the California condor and the Florida panther. Some scientists and activists feel the chances of getting the fish listed are slim. However, many also feel the action is long overdue.\u003c/p>\n\u003cp>The Pacific bluefin tuna, a species distinct from the overfished Atlantic bluefin, has been depleted to less than 3 percent of its estimated unfished levels, according to numerous researchers.\u003c/p>\n\u003cp>This, scientists and environmentalists argue, is an ecological emergency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The stock is down over 97 percent from pre-fishing levels, so there is no doubt the species needs to have some protections put in place,\" Duke University research scientist \u003ca href=\"https://nicholas.duke.edu/people/faculty/boustany\" target=\"_blank\">Andre Boustany\u003c/a> tells The Salt via email.\u003c/p>\n\u003cp>One of the problems with current fishing patterns, says Catherine Kilduff, a staff attorney with the Center for Biological Diversity, is that most – possibly more than 98 percent, she says – of the Pacific bluefin that are caught and processed are immature juveniles that have never reproduced.\u003c/p>\n\u003cp>\"So the baby fish never grow up to be moms and dads, and the adult fish eventually die,\" Kilduff says. \"We feel this is a recipe for extinction.\"\u003c/p>\n\u003cp>The international fishery essentially manages itself, setting its own quotas each year, and critics say too many tuna are taken. Boustany, for one, says the fishery managers' population recovery goals are much too modest: By 2024, he says, \"the current management measures are only aiming to rebuild the stock to\" around 6 percent of what it would be if the Pacific bluefin wasn't fished.\u003c/p>\n\u003cp>And \"almost all of the conservation measures that have been put in place to meet this low target are voluntary,\" writes Boustany. \"There is a reasonable probability that this target will not be met.\"\u003c/p>\n\u003cp>The process of considering the petition and eventually listing the Pacific bluefin could take about two years, says Kilduff.\u003c/p>\n\u003cp>She says an endangered status would make it illegal to catch and kill Pacific bluefin in American waters, which extend 200 nautical miles from shore. Kilduff says it would also forbid Americans from possessing the fish even when outside of the United States, and prohibit the sale or trade of Pacific bluefin within the United States. For instance, most of the Pacific bluefin captured by Mexico, and then fattened in open-ocean pens before being slaughtered, is sent to Tokyo via United States ports, according to Boustany. An endangered listing would ban this activity.\u003c/p>\n\u003cp>Bluefin tuna travel great distances across the ocean, through waters governed by many different nations – including Japan, where the bluefin's fatty pink flesh is highly prized as sashimi. The migratory nature of the bluefin has made sustainable fishery management a challenge, since it requires the close cooperation of numerous national governments.\u003c/p>\n\u003cp>It's also part of the reason why protection under the Endangered Species Act would have limited effects on the fishery and the species' population. Of the 37 million pounds of Pacific bluefin caught by fishermen in 2014, American fishermen caught just 2 percent, according to data provided by Michael Milstein, a public affairs officer with NOAA Fisheries. (Japan took about half and Mexico almost 30 percent.)\u003c/p>\n\u003cp>Likewise, a relatively small amount of Pacific bluefin is consumed in the United States. According to \u003ca href=\"http://www.st.nmfs.noaa.gov/pls/webpls/trade_prdct.data_in?qtype=IMP&qmnth=12&qyear=2015&qprod_name=TUNA+BLUEFIN&qoutput=TABLE\" target=\"_blank\">federal catch data\u003c/a>, the United States imported only about 3 percent of 2014's landings of Pacific bluefin tuna.\u003c/p>\n\u003cp>The United States' small role in the bluefin industry is why some conservationists feel listing the Pacific bluefin as endangered would be largely symbolic.\u003c/p>\n\u003cp>\"It would affect fishing for Pacific bluefin in U.S. waters and would also stop imports of Pacific bluefin into the States, and that would send a major signal to the global market\" that current fishing trends are not sustainable, says restaurateur and seafood sustainability consultant Casson Trenor, whose San Francisco sushi restaurant group \u003ca href=\"http://www.tatakisushibar.com/\" target=\"_blank\">Tataki\u003c/a> has \u003ca href=\"http://www.npr.org/sections/thesalt/2015/01/07/375366742/why-some-chefs-just-cant-quit-serving-bluefin-tuna\" target=\"_blank\">vowed never to serve bluefin tuna\u003c/a>.\u003c/p>\n\u003cp>While Pacific bluefin \u003ca href=\"https://swfsc.noaa.gov/news.aspx?ParentMenuId=287&id=21883&cmsMode=Preview&langtype=1033\" target=\"_blank\">stock assessments\u003c/a> show a slight population jump – from 2 percent to 2.6 percent of its unfished size – from 2012 to 2014, Boustany is skeptical that the rough modeling system used to make these estimates is actually capable of detecting such subtle changes. He tells The Salt he believes that, since the species has been in almost nonstop decline for decades, the Pacific bluefin's numbers are possibly still dropping.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.wcpfc.int/\" target=\"_blank\">Western and Central Pacific Fisheries Commission\u003c/a> and the \u003ca href=\"https://www.iattc.org/HomeENG.htm\" target=\"_blank\">Inter-American Tropical Tuna Commission\u003c/a> are the two organizations that manage the bulk of the Pacific bluefin catch.\u003c/p>\n\u003cp>The IATTC, which is convening in southern California this week to consider the next year's fishing regulations, said no one was available to comment for this story. The WCPFC, based in Micronesia, did not reply to multiple emails.\u003c/p>\n\u003cp>Buzz Brizendine, captain of the San Diego-based recreational fishing boat \u003ca href=\"http://www.fishermanslanding.com/pages/Prowler.php\">The Prowler\u003c/a>, says he thinks listing Pacific bluefin, and thereby banning fishing for the species, would be unfair and relatively ineffective.\u003c/p>\n\u003cp>\"Recreational fishermen have already had their daily bag limit on Pacific bluefin reduced from 10 to 2 fish,\" says Brizendine, who takes customers fishing for bluefin in the summer months. \"We've already made a significant contribution to reducing the catch.\"\u003c/p>\n\u003cp>Brizendine sits on the Pacific Fishery Management Council, the advisory panel that makes recommendations to the U.S. government on how to manage many species. He says efforts to reduce mortality of Pacific bluefin must be focused on the western Pacific – the waters near Asia – where more than three-fourths of the catch is taken.\u003c/p>\n\u003cp>Some depleted but commercially valued fishes, like several strains of Chinook salmon and a handful of rockfish species, have been afforded strict protections by the federal government. Kilduff notes that her organization petitioned the U.S. fisheries service in 2014 to add the Pacific bluefin to its list of species that can't be fished under regulations.\u003c/p>\n\u003cp>\"They denied that petition [two weeks ago],\" she says. \"So, we've tried to get them to take action before, and they haven't.\"\u003c/p>\n\u003cp>That, says tuna researcher and author \u003ca href=\"http://safinacenter.org/\" target=\"_blank\">Carl Safina\u003c/a>, is simply because Pacific bluefin are so valuable. He signed the petition but thinks the odds of getting the Pacific bluefin listed are slim. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "Environmental groups have asked the U.S. to give the prized fish protection under the Endangered Species Act. Some scientists and activists say the chances are slim but the action is long overdue.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Environmentalists are demanding that one of the most prized fishes on the planet be listed as an endangered species.\u003c/p>\n\u003cp>Last week, about a dozen environmental groups — including Greenpeace, the Center for Biological Diversity, Defenders of Wildlife and Earthjustice — formally petitioned the U.S. National Marine Fisheries Service to consider listing the Pacific bluefin tuna as endangered under the Endangered Species Act. That status mandates the highest levels of protection from harm.\u003c/p>\n\u003cp>Other endangered species include the California condor and the Florida panther. Some scientists and activists feel the chances of getting the fish listed are slim. However, many also feel the action is long overdue.\u003c/p>\n\u003cp>The Pacific bluefin tuna, a species distinct from the overfished Atlantic bluefin, has been depleted to less than 3 percent of its estimated unfished levels, according to numerous researchers.\u003c/p>\n\u003cp>This, scientists and environmentalists argue, is an ecological emergency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The stock is down over 97 percent from pre-fishing levels, so there is no doubt the species needs to have some protections put in place,\" Duke University research scientist \u003ca href=\"https://nicholas.duke.edu/people/faculty/boustany\" target=\"_blank\">Andre Boustany\u003c/a> tells The Salt via email.\u003c/p>\n\u003cp>One of the problems with current fishing patterns, says Catherine Kilduff, a staff attorney with the Center for Biological Diversity, is that most – possibly more than 98 percent, she says – of the Pacific bluefin that are caught and processed are immature juveniles that have never reproduced.\u003c/p>\n\u003cp>\"So the baby fish never grow up to be moms and dads, and the adult fish eventually die,\" Kilduff says. \"We feel this is a recipe for extinction.\"\u003c/p>\n\u003cp>The international fishery essentially manages itself, setting its own quotas each year, and critics say too many tuna are taken. Boustany, for one, says the fishery managers' population recovery goals are much too modest: By 2024, he says, \"the current management measures are only aiming to rebuild the stock to\" around 6 percent of what it would be if the Pacific bluefin wasn't fished.\u003c/p>\n\u003cp>And \"almost all of the conservation measures that have been put in place to meet this low target are voluntary,\" writes Boustany. \"There is a reasonable probability that this target will not be met.\"\u003c/p>\n\u003cp>The process of considering the petition and eventually listing the Pacific bluefin could take about two years, says Kilduff.\u003c/p>\n\u003cp>She says an endangered status would make it illegal to catch and kill Pacific bluefin in American waters, which extend 200 nautical miles from shore. Kilduff says it would also forbid Americans from possessing the fish even when outside of the United States, and prohibit the sale or trade of Pacific bluefin within the United States. For instance, most of the Pacific bluefin captured by Mexico, and then fattened in open-ocean pens before being slaughtered, is sent to Tokyo via United States ports, according to Boustany. An endangered listing would ban this activity.\u003c/p>\n\u003cp>Bluefin tuna travel great distances across the ocean, through waters governed by many different nations – including Japan, where the bluefin's fatty pink flesh is highly prized as sashimi. The migratory nature of the bluefin has made sustainable fishery management a challenge, since it requires the close cooperation of numerous national governments.\u003c/p>\n\u003cp>It's also part of the reason why protection under the Endangered Species Act would have limited effects on the fishery and the species' population. Of the 37 million pounds of Pacific bluefin caught by fishermen in 2014, American fishermen caught just 2 percent, according to data provided by Michael Milstein, a public affairs officer with NOAA Fisheries. (Japan took about half and Mexico almost 30 percent.)\u003c/p>\n\u003cp>Likewise, a relatively small amount of Pacific bluefin is consumed in the United States. According to \u003ca href=\"http://www.st.nmfs.noaa.gov/pls/webpls/trade_prdct.data_in?qtype=IMP&qmnth=12&qyear=2015&qprod_name=TUNA+BLUEFIN&qoutput=TABLE\" target=\"_blank\">federal catch data\u003c/a>, the United States imported only about 3 percent of 2014's landings of Pacific bluefin tuna.\u003c/p>\n\u003cp>The United States' small role in the bluefin industry is why some conservationists feel listing the Pacific bluefin as endangered would be largely symbolic.\u003c/p>\n\u003cp>\"It would affect fishing for Pacific bluefin in U.S. waters and would also stop imports of Pacific bluefin into the States, and that would send a major signal to the global market\" that current fishing trends are not sustainable, says restaurateur and seafood sustainability consultant Casson Trenor, whose San Francisco sushi restaurant group \u003ca href=\"http://www.tatakisushibar.com/\" target=\"_blank\">Tataki\u003c/a> has \u003ca href=\"http://www.npr.org/sections/thesalt/2015/01/07/375366742/why-some-chefs-just-cant-quit-serving-bluefin-tuna\" target=\"_blank\">vowed never to serve bluefin tuna\u003c/a>.\u003c/p>\n\u003cp>While Pacific bluefin \u003ca href=\"https://swfsc.noaa.gov/news.aspx?ParentMenuId=287&id=21883&cmsMode=Preview&langtype=1033\" target=\"_blank\">stock assessments\u003c/a> show a slight population jump – from 2 percent to 2.6 percent of its unfished size – from 2012 to 2014, Boustany is skeptical that the rough modeling system used to make these estimates is actually capable of detecting such subtle changes. He tells The Salt he believes that, since the species has been in almost nonstop decline for decades, the Pacific bluefin's numbers are possibly still dropping.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.wcpfc.int/\" target=\"_blank\">Western and Central Pacific Fisheries Commission\u003c/a> and the \u003ca href=\"https://www.iattc.org/HomeENG.htm\" target=\"_blank\">Inter-American Tropical Tuna Commission\u003c/a> are the two organizations that manage the bulk of the Pacific bluefin catch.\u003c/p>\n\u003cp>The IATTC, which is convening in southern California this week to consider the next year's fishing regulations, said no one was available to comment for this story. The WCPFC, based in Micronesia, did not reply to multiple emails.\u003c/p>\n\u003cp>Buzz Brizendine, captain of the San Diego-based recreational fishing boat \u003ca href=\"http://www.fishermanslanding.com/pages/Prowler.php\">The Prowler\u003c/a>, says he thinks listing Pacific bluefin, and thereby banning fishing for the species, would be unfair and relatively ineffective.\u003c/p>\n\u003cp>\"Recreational fishermen have already had their daily bag limit on Pacific bluefin reduced from 10 to 2 fish,\" says Brizendine, who takes customers fishing for bluefin in the summer months. \"We've already made a significant contribution to reducing the catch.\"\u003c/p>\n\u003cp>Brizendine sits on the Pacific Fishery Management Council, the advisory panel that makes recommendations to the U.S. government on how to manage many species. He says efforts to reduce mortality of Pacific bluefin must be focused on the western Pacific – the waters near Asia – where more than three-fourths of the catch is taken.\u003c/p>\n\u003cp>Some depleted but commercially valued fishes, like several strains of Chinook salmon and a handful of rockfish species, have been afforded strict protections by the federal government. Kilduff notes that her organization petitioned the U.S. fisheries service in 2014 to add the Pacific bluefin to its list of species that can't be fished under regulations.\u003c/p>\n\u003cp>\"They denied that petition [two weeks ago],\" she says. \"So, we've tried to get them to take action before, and they haven't.\"\u003c/p>\n\u003cp>That, says tuna researcher and author \u003ca href=\"http://safinacenter.org/\" target=\"_blank\">Carl Safina\u003c/a>, is simply because Pacific bluefin are so valuable. He signed the petition but thinks the odds of getting the Pacific bluefin listed are slim. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "uc-davis-receives-4-more-thiebaud-paintings-for-its-new-museum",
"title": "UC Davis Receives 4 More Thiebaud Paintings from a Former Professor",
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"headTitle": "UC Davis Receives 4 More Thiebaud Paintings from a Former Professor | KQED",
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"content": "\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the paintings Thiebaud donated this week was “The Unfinished Portrait of Betty Jean,” which features his second wife, filmmaker Betty Jean Carr, who died in December of last year. The painting had never been shown in public before.\u003c/p>\n\u003cp>\u003ci>Watch a short video from UC Davis about Thiebaud’s donation below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/koL6ZBReuJA\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the paintings Thiebaud donated this week was “The Unfinished Portrait of Betty Jean,” which features his second wife, filmmaker Betty Jean Carr, who died in December of last year. The painting had never been shown in public before.\u003c/p>\n\u003cp>\u003ci>Watch a short video from UC Davis about Thiebaud’s donation below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/koL6ZBReuJA'\n title='//www.youtube.com/embed/koL6ZBReuJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"slug": "we-have-a-right-to-live-here-personal-stories-from-san-franciscos-evicted",
"title": "‘We Have a Right to Live Here’: Stories from San Francisco’s Evicted",
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"headTitle": "‘We Have a Right to Live Here’: Stories from San Francisco’s Evicted | KQED",
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"content": "\u003cp>Maps, whether printed or pixelated, are purely utilitarian for most people. But to the \u003ca href=\"http://antievictionmappingproject.net\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, maps are a powerful, immediate way to measure change.\u003c/p>\n\u003cp>The collective’s animated map of \u003ca href=\"http://www.antievictionmappingproject.net/ellis.html\" target=\"_blank\" rel=\"noopener\">Ellis Act evictions\u003c/a> in San Francisco between 1994 and 2014 looks like a time lapse of a city-wide military proving grounds, evictions blooming outward in circular explosions from SOMA, the Mission and — really — everywhere within San Francisco’s 49 square miles. The data-visualization depicts evictions as sites of violence, with rippling aftereffects.\u003c/p>\n\u003cfigure id=\"attachment_11741656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg\" alt=\"Ellis Act Evictions map\" width=\"1200\" height=\"684\" class=\"size-full wp-image-11741656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-960x547.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ellis Act Evictions map \u003ccite>(Courtesy of Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As effective as this type of mapping is in providing a sense of history, scale and geographic trends, the data remain abstract: number of tenants evicted, addresses and dates. But the A(E)MP collective, a shifting group of mostly volunteer housing rights activists, community organizers and artists, doesn’t stop with numbers. Alongside number crunching and data-visualization, they operate a storytelling and qualitative side of their work, collecting \u003ca href=\"http://www.antievictionmappingproject.net/narratives.html\" target=\"_blank\" rel=\"noopener\">narratives of displacement and resistance\u003c/a>.\u003c/p>\n\u003cp>Allowing people to tell their own stories — of changing neighborhoods, fights against eviction, and experiences of homelessness — in their own words, the A(E)MP profiles the differences and similarities between lived experiences in the current Bay Area housing crisis. Close to 100 oral histories, most around 1 hour in length, dot A(E)MP’s narrative map. I dove in for some deep listening with suggestions from Erin McElroy, one of A(E)MP’s founding members.\u003c/p>\n\u003cfigure id=\"attachment_11741660\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Tiye.jpg\" alt=\"Tiye Silon Shepard, interviewed by Caleb Smith\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Tiye Silon Shepard, interviewed by Caleb Smith \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is next-level’\u003c/h3>\n\u003cp>In Caleb Smith’s interview of \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/tiye-silon-shepard\" target=\"_blank\" rel=\"noopener\">Tiye Silon Shepard\u003c/a>, the native San Franciscan compares her childhood in the Mission with her relationship to the swiftly changing neighborhood today. Semi-seriously, Shepard, who is Black, points to the appearance of white joggers near her apartment as “the end.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her outlook on the neighborhood’s future is bleak. “The second they started building condos on Mission Street, we just all need to find a new place to go,” she says. \u003c/p>\n\u003cp>“I like not hearing gunshots outside my window at night,” she says, but change is not categorically good. “Of course neighborhoods change over time, but this is next-level, this is organized, this is purposeful,” she says of the displacement she sees around her.\u003c/p>\n\u003cp>For her, gentrification is a new form of colonization. Instead of violence, she sees the effects as emotional distress. “The folks who for the last 20 years have lived in that neighborhood all come from a colonized background,” she says. “So to have that trauma again hurts on an even deeper level because you always feel like you’re being pushed out of what you’ve tried to make your own.” \u003c/p>\n\u003caside class=\"pullquote alignright\">“People feel politically disenfranchised.” \u003ccite>Caleb Smith\u003c/cite>\u003c/aside>\n\u003cp>Asked about the social and political effects of gentrification on San Francisco, Shepard predicts, “I just think it’s going to turn into a place where it’s gonna be a bunch of people who have no real emotional investment in the city.”\u003c/p>\n\u003cp>Shepard’s interviewer wasn’t surprised by her outlook. Smith just graduated with a degree in politics from University of San Francisco and is spending the summer on a public policy fellowship in Sacramento. “People feel politically disenfranchised,” he says. “There are measures to try and slow gentrification and they don’t even pass. It’s hard to identify anything that could potentially stop it.”\u003c/p>\n\u003cfigure id=\"attachment_11741658\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Mira.jpg\" alt=\"Mira Ingram, interviewed by Zeph Fishlyn\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Mira Ingram, interviewed by Zeph Fishlyn \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is my family and my home and everything’\u003c/h3>\n\u003cp>For \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/mira-ingram\" target=\"_blank\" rel=\"noopener\">Mira Ingram\u003c/a>, who moved to San Francisco when she was 25, the city was always a safe haven, where she could be queer and punk and politically active without fear of retribution. “I’m grateful every day that I’m here,” she says to her interviewer \u003ca href=\"http://zephrocious.com/filter/highlights\" target=\"_blank\" rel=\"noopener\">Zeph Fishlyn\u003c/a>. “I always have some bit of gratitude that I’m at a place where people understand me.”\u003c/p>\n\u003cp>In 1997 Ingram suffered an injury that ultimately caused her to become disabled; she now uses a wheelchair. At almost the same time, she was evicted from her Mission district apartment during the Bay Area’s first tech boom. “It wasn’t a big deal then,” she says of the eviction in retrospect. “It was more of a rare occurrence.” Today? “I would say probably half or more of my close friends have been Ellis Acted out of the city,” she says.\u003c/p>\n\u003cp>The tech buses that transport employees to and from Silicon Valley are more than just symbols of a changing economy and population for Ingram — they’re physical obstacles she can’t surmount in her wheelchair. \u003c/p>\n\u003caside class=\"pullquote alignright\">“It’s a loss of consciousness and awareness.” \u003ccite>Mira Ingram\u003c/cite>\u003c/aside>\n\u003cp>“The city just lets the tech buses operate here, but they don’t pay any attention to how it violates the rights of people with disabilities like me,” she says. When tech buses pull up to curbs, Ingram explains, MUNI buses are often forced to stop in the middle of the street, making it impossible for them to lower their wheelchair ramps. \u003c/p>\n\u003cp>“I can’t tell you how many doctor’s appointments I’ve missed because the tech buses are there,” she says. Beyond this serious inconvenience, she see the buses as emblematic of an even larger problem: “It’s a loss of consciousness and awareness that’s missing too. And that’s really sad.”\u003c/p>\n\u003cp>For now, Ingram’s living situation is stable, but she worries about what might happen if she lost her place in public housing. “I don’t have anywhere else to go,” she says. “This is my family and my home and everything. I’ve got tons of medical problems and this is where I’ve got it all set up.\u003c/p>\n\u003cp>“I would be here, and homeless,” she says, “before I would go somewhere else.” \u003c/p>\n\u003cfigure id=\"attachment_11741661\" class=\"wp-caption aligncenter\" style=\"max-width: 954px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg\" alt=\"Zeph Fishlyn, 'Fabric: Raveling/Unraveling,' 2014. A participatory visual arts project exploring LGBTQI experiences of home.\" width=\"954\" height=\"1005\" class=\"size-full wp-image-11741661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg 954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-400x421.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-570x600.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-768x809.jpg 768w\" sizes=\"(max-width: 954px) 100vw, 954px\">\u003cfigcaption class=\"wp-caption-text\">Zeph Fishlyn, ‘Fabric: Raveling/Unraveling,’ 2014.\u003cbr>A participatory visual arts project exploring LGBTQI experiences of home. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Ingram’s interviewer, Ingram’s story hit very close to home. Fishlyn has been evicted three times in the last four years, helping 35 people move out of their homes in 2012 alone. In addition to Ingram, Fishlyn interviewed about a dozen other subjects as part of \u003ci>Fabric: Raveling/Unraveling\u003c/i>, a visual art project for the 2014 National Queer Arts Festival.\u003c/p>\n\u003cp>“The process of doing the interviews in some ways felt like one of the most powerful pieces of it,” Fishlyn says of their artwork, which brought together multiple stories of displacement to connect those experiences of isolation. “It felt like therapy.”\u003c/p>\n\u003cfigure id=\"attachment_11741655\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Claudia.jpg\" alt=\"Claudia Tirado, interviewed by Manissa Maharawal\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Tirado, interviewed by Manissa Maharawal \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I shouldn’t be doing this’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/claudia-tirado\" target=\"_blank\" rel=\"noopener\">Claudia Tirado\u003c/a> was busy fighting an eviction notice from her landlord (the late Google attorney \u003ca href=\"http://valleywag.gawker.com/protestors-target-home-of-google-exec-accused-of-evicti-1562273315\" target=\"_blank\" rel=\"noopener\">Jack Halprin\u003c/a>) when Manissa Maharawal interviewed her for A(E)MP. A mother and veteran third-grade teacher, Tirado, like Ingram, points to a growing empathy gap in the city. \u003c/p>\n\u003cp>“People don’t understand the difficulty of eviction if they have money,” she says of those who can rely on financial support from family and friends. “I don’t have funds. I’m a self-raised person.”\u003c/p>\n\u003cp>Tirado wants San Francisco to retain its spirit of acceptance and celebration of diversity. “We all have to respect each other and our differences. That’s what makes San Francisco awesome,” she says. Different worlds — and different classes — can and should coexist in the city. \u003c/p>\n\u003cp>“We have a right to live here \u003ci>and\u003c/i> to work here,” she adds. “There’s nothing wrong with being a janitor, a teacher, a bus driver, a taxi driver or a maid. What’s wrong is the lack of humanity and respect that we get.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“I just feel like a mother protecting her baby.” \u003ccite>Claudia Tirado\u003c/cite>\u003c/aside>\n\u003cp>The eviction was a threat not just to Tirado’s home, but to her relationship with her son’s father and to her own emotional well-being. When Maharawal asks if the community organizing around Tirado’s eviction is empowering, she says, “I don’t feel empowered at all. I still feel like it’s a stronger force than I can rally up energy to fight sometimes.”\u003c/p>\n\u003cp>“I feel like…” she says before she trails off. Her voice breaks with emotion. “I just feel like a mother protecting her baby.\u003c/p>\n\u003cp>“All this energy that I should be putting into my child and my classroom, I have to put into fighting [Halprin]. I shouldn’t be doing this.”\u003c/p>\n\u003cp>Maharawal, who has an \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/manissa-clip\" target=\"_blank\" rel=\"noopener\">oral history of her own\u003c/a> on the A(E)MP page, says their two-hour interview was “a deeply personal and intense experience.”\u003c/p>\n\u003cp>“Claudia told me that the interview was cathartic for her,” she says, citing the oral history project’s overarching goals. “Eviction is a destabilizing and alienating process. The interviews aim to create space for solidarity, support and reflection.”\u003c/p>\n\u003cfigure id=\"attachment_11741657\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Michael.jpg\" alt=\"Michael Rouppet, interviewed by Manon Vergerio\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Michael Rouppet, interviewed by Manon Vergerio \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘That was me’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/michael-rouppet\" target=\"_blank\" rel=\"noopener\">Michael Rouppet\u003c/a>, an HIV positive man who was homeless for nearly a year after being evicted from his Alamo Square apartment, now volunteers with the \u003ca href=\"http://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, providing services and resources to the city’s most disenfranchised people. \u003c/p>\n\u003cp>Locked out of his apartment with just his dog, one satchel and the clothes on his back, Rouppet is still trying to find out what happened to all of his possessions. “I’d like to know and I’ve been asking the court for two years, where are my things?” he says. “My wedding ring, my family photos, my mother’s recipes, not just my clothes and my underwear and my medication. My grandmother’s silver set. I’d like to know where these things are.”\u003c/p>\n\u003cp>On the street, Rouppet suffered debilitating cellulitis. It was other homeless people who took care of him. “The humanity that homeless people show each other, they taught me so much,” he says. \u003c/p>\n\u003caside class=\"pullquote alignright\">“He’s setting the example we should all live by.” \u003ccite>Vince Crisostomo\u003c/cite>\u003c/aside>\n\u003cp>Rouppet says volunteering with the SF AIDS Foundation helped him find his bearings. Vince Crisostomo, manager of the foundation’s \u003ca href=\"http://sfaf.org/client-services/50-plus/?referrer=http://sfaf.org/hiv-info/hot-topics/from-the-experts/whats-new-with-50-plus.html\" target=\"_blank\" rel=\"noopener\">50-Plus Network\u003c/a>, interjects in the recording. “When Michael talks about volunteering, it goes so far beyond that,” he says. “It just makes me cry thinking about it.” \u003c/p>\n\u003cp>When out in the field working with the city’s homeless population, Crisostomo explains, Rouppet always reaches out to even the most isolated individuals, saying, “That was me.” \u003c/p>\n\u003cp>“He’s setting the example we should all live by,” Crisostomo says. “We should remember that that could be us.”\u003c/p>\n\u003cfigure id=\"attachment_11741668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Screen-Shot-2016-06-26-at-2.09.41-PM-e1467004823386.png\" alt=\"Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories.\" width=\"1200\" height=\"669\" class=\"size-full wp-image-11741668\">\u003cfigcaption class=\"wp-caption-text\">Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories. \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While A(E)MP’s maps, murals and community events make visible the connections between global capital, real estate, high tech and the local political economy, what emerges from the oral history project are the effects of these entanglements on the city’s most vulnerable individuals. To listen to someone’s story, told plainly and honestly, is to momentarily inhabit their world, their struggles and goals. Empathy, a quality so many of the oral history interviewees wish to see more of in San Francisco, is the inevitable result. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When Rouppet’s interviewer Manon Vergerio asks what newcomers to the Bay Area could do to better understand each other, and the homeless population more specifically, he says, “Talk to them. Rather than speaking for a population that doesn’t have representation, talk to them.”\u003c/p>\n\n",
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"excerpt": "The Anti-Eviction Mapping Project provides more than just numbers in its ongoing quest to make visible the effects of our current Bay Area tech boom. ",
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"title": "‘We Have a Right to Live Here’: Stories from San Francisco’s Evicted | KQED",
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"headline": "‘We Have a Right to Live Here’: Stories from San Francisco’s Evicted",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maps, whether printed or pixelated, are purely utilitarian for most people. But to the \u003ca href=\"http://antievictionmappingproject.net\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, maps are a powerful, immediate way to measure change.\u003c/p>\n\u003cp>The collective’s animated map of \u003ca href=\"http://www.antievictionmappingproject.net/ellis.html\" target=\"_blank\" rel=\"noopener\">Ellis Act evictions\u003c/a> in San Francisco between 1994 and 2014 looks like a time lapse of a city-wide military proving grounds, evictions blooming outward in circular explosions from SOMA, the Mission and — really — everywhere within San Francisco’s 49 square miles. The data-visualization depicts evictions as sites of violence, with rippling aftereffects.\u003c/p>\n\u003cfigure id=\"attachment_11741656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg\" alt=\"Ellis Act Evictions map\" width=\"1200\" height=\"684\" class=\"size-full wp-image-11741656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-960x547.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ellis Act Evictions map \u003ccite>(Courtesy of Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As effective as this type of mapping is in providing a sense of history, scale and geographic trends, the data remain abstract: number of tenants evicted, addresses and dates. But the A(E)MP collective, a shifting group of mostly volunteer housing rights activists, community organizers and artists, doesn’t stop with numbers. Alongside number crunching and data-visualization, they operate a storytelling and qualitative side of their work, collecting \u003ca href=\"http://www.antievictionmappingproject.net/narratives.html\" target=\"_blank\" rel=\"noopener\">narratives of displacement and resistance\u003c/a>.\u003c/p>\n\u003cp>Allowing people to tell their own stories — of changing neighborhoods, fights against eviction, and experiences of homelessness — in their own words, the A(E)MP profiles the differences and similarities between lived experiences in the current Bay Area housing crisis. Close to 100 oral histories, most around 1 hour in length, dot A(E)MP’s narrative map. I dove in for some deep listening with suggestions from Erin McElroy, one of A(E)MP’s founding members.\u003c/p>\n\u003cfigure id=\"attachment_11741660\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Tiye.jpg\" alt=\"Tiye Silon Shepard, interviewed by Caleb Smith\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Tiye Silon Shepard, interviewed by Caleb Smith \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is next-level’\u003c/h3>\n\u003cp>In Caleb Smith’s interview of \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/tiye-silon-shepard\" target=\"_blank\" rel=\"noopener\">Tiye Silon Shepard\u003c/a>, the native San Franciscan compares her childhood in the Mission with her relationship to the swiftly changing neighborhood today. Semi-seriously, Shepard, who is Black, points to the appearance of white joggers near her apartment as “the end.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her outlook on the neighborhood’s future is bleak. “The second they started building condos on Mission Street, we just all need to find a new place to go,” she says. \u003c/p>\n\u003cp>“I like not hearing gunshots outside my window at night,” she says, but change is not categorically good. “Of course neighborhoods change over time, but this is next-level, this is organized, this is purposeful,” she says of the displacement she sees around her.\u003c/p>\n\u003cp>For her, gentrification is a new form of colonization. Instead of violence, she sees the effects as emotional distress. “The folks who for the last 20 years have lived in that neighborhood all come from a colonized background,” she says. “So to have that trauma again hurts on an even deeper level because you always feel like you’re being pushed out of what you’ve tried to make your own.” \u003c/p>\n\u003caside class=\"pullquote alignright\">“People feel politically disenfranchised.” \u003ccite>Caleb Smith\u003c/cite>\u003c/aside>\n\u003cp>Asked about the social and political effects of gentrification on San Francisco, Shepard predicts, “I just think it’s going to turn into a place where it’s gonna be a bunch of people who have no real emotional investment in the city.”\u003c/p>\n\u003cp>Shepard’s interviewer wasn’t surprised by her outlook. Smith just graduated with a degree in politics from University of San Francisco and is spending the summer on a public policy fellowship in Sacramento. “People feel politically disenfranchised,” he says. “There are measures to try and slow gentrification and they don’t even pass. It’s hard to identify anything that could potentially stop it.”\u003c/p>\n\u003cfigure id=\"attachment_11741658\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Mira.jpg\" alt=\"Mira Ingram, interviewed by Zeph Fishlyn\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Mira Ingram, interviewed by Zeph Fishlyn \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is my family and my home and everything’\u003c/h3>\n\u003cp>For \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/mira-ingram\" target=\"_blank\" rel=\"noopener\">Mira Ingram\u003c/a>, who moved to San Francisco when she was 25, the city was always a safe haven, where she could be queer and punk and politically active without fear of retribution. “I’m grateful every day that I’m here,” she says to her interviewer \u003ca href=\"http://zephrocious.com/filter/highlights\" target=\"_blank\" rel=\"noopener\">Zeph Fishlyn\u003c/a>. “I always have some bit of gratitude that I’m at a place where people understand me.”\u003c/p>\n\u003cp>In 1997 Ingram suffered an injury that ultimately caused her to become disabled; she now uses a wheelchair. At almost the same time, she was evicted from her Mission district apartment during the Bay Area’s first tech boom. “It wasn’t a big deal then,” she says of the eviction in retrospect. “It was more of a rare occurrence.” Today? “I would say probably half or more of my close friends have been Ellis Acted out of the city,” she says.\u003c/p>\n\u003cp>The tech buses that transport employees to and from Silicon Valley are more than just symbols of a changing economy and population for Ingram — they’re physical obstacles she can’t surmount in her wheelchair. \u003c/p>\n\u003caside class=\"pullquote alignright\">“It’s a loss of consciousness and awareness.” \u003ccite>Mira Ingram\u003c/cite>\u003c/aside>\n\u003cp>“The city just lets the tech buses operate here, but they don’t pay any attention to how it violates the rights of people with disabilities like me,” she says. When tech buses pull up to curbs, Ingram explains, MUNI buses are often forced to stop in the middle of the street, making it impossible for them to lower their wheelchair ramps. \u003c/p>\n\u003cp>“I can’t tell you how many doctor’s appointments I’ve missed because the tech buses are there,” she says. Beyond this serious inconvenience, she see the buses as emblematic of an even larger problem: “It’s a loss of consciousness and awareness that’s missing too. And that’s really sad.”\u003c/p>\n\u003cp>For now, Ingram’s living situation is stable, but she worries about what might happen if she lost her place in public housing. “I don’t have anywhere else to go,” she says. “This is my family and my home and everything. I’ve got tons of medical problems and this is where I’ve got it all set up.\u003c/p>\n\u003cp>“I would be here, and homeless,” she says, “before I would go somewhere else.” \u003c/p>\n\u003cfigure id=\"attachment_11741661\" class=\"wp-caption aligncenter\" style=\"max-width: 954px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg\" alt=\"Zeph Fishlyn, 'Fabric: Raveling/Unraveling,' 2014. A participatory visual arts project exploring LGBTQI experiences of home.\" width=\"954\" height=\"1005\" class=\"size-full wp-image-11741661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg 954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-400x421.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-570x600.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-768x809.jpg 768w\" sizes=\"(max-width: 954px) 100vw, 954px\">\u003cfigcaption class=\"wp-caption-text\">Zeph Fishlyn, ‘Fabric: Raveling/Unraveling,’ 2014.\u003cbr>A participatory visual arts project exploring LGBTQI experiences of home. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Ingram’s interviewer, Ingram’s story hit very close to home. Fishlyn has been evicted three times in the last four years, helping 35 people move out of their homes in 2012 alone. In addition to Ingram, Fishlyn interviewed about a dozen other subjects as part of \u003ci>Fabric: Raveling/Unraveling\u003c/i>, a visual art project for the 2014 National Queer Arts Festival.\u003c/p>\n\u003cp>“The process of doing the interviews in some ways felt like one of the most powerful pieces of it,” Fishlyn says of their artwork, which brought together multiple stories of displacement to connect those experiences of isolation. “It felt like therapy.”\u003c/p>\n\u003cfigure id=\"attachment_11741655\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Claudia.jpg\" alt=\"Claudia Tirado, interviewed by Manissa Maharawal\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Tirado, interviewed by Manissa Maharawal \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I shouldn’t be doing this’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/claudia-tirado\" target=\"_blank\" rel=\"noopener\">Claudia Tirado\u003c/a> was busy fighting an eviction notice from her landlord (the late Google attorney \u003ca href=\"http://valleywag.gawker.com/protestors-target-home-of-google-exec-accused-of-evicti-1562273315\" target=\"_blank\" rel=\"noopener\">Jack Halprin\u003c/a>) when Manissa Maharawal interviewed her for A(E)MP. A mother and veteran third-grade teacher, Tirado, like Ingram, points to a growing empathy gap in the city. \u003c/p>\n\u003cp>“People don’t understand the difficulty of eviction if they have money,” she says of those who can rely on financial support from family and friends. “I don’t have funds. I’m a self-raised person.”\u003c/p>\n\u003cp>Tirado wants San Francisco to retain its spirit of acceptance and celebration of diversity. “We all have to respect each other and our differences. That’s what makes San Francisco awesome,” she says. Different worlds — and different classes — can and should coexist in the city. \u003c/p>\n\u003cp>“We have a right to live here \u003ci>and\u003c/i> to work here,” she adds. “There’s nothing wrong with being a janitor, a teacher, a bus driver, a taxi driver or a maid. What’s wrong is the lack of humanity and respect that we get.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“I just feel like a mother protecting her baby.” \u003ccite>Claudia Tirado\u003c/cite>\u003c/aside>\n\u003cp>The eviction was a threat not just to Tirado’s home, but to her relationship with her son’s father and to her own emotional well-being. When Maharawal asks if the community organizing around Tirado’s eviction is empowering, she says, “I don’t feel empowered at all. I still feel like it’s a stronger force than I can rally up energy to fight sometimes.”\u003c/p>\n\u003cp>“I feel like…” she says before she trails off. Her voice breaks with emotion. “I just feel like a mother protecting her baby.\u003c/p>\n\u003cp>“All this energy that I should be putting into my child and my classroom, I have to put into fighting [Halprin]. I shouldn’t be doing this.”\u003c/p>\n\u003cp>Maharawal, who has an \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/manissa-clip\" target=\"_blank\" rel=\"noopener\">oral history of her own\u003c/a> on the A(E)MP page, says their two-hour interview was “a deeply personal and intense experience.”\u003c/p>\n\u003cp>“Claudia told me that the interview was cathartic for her,” she says, citing the oral history project’s overarching goals. “Eviction is a destabilizing and alienating process. The interviews aim to create space for solidarity, support and reflection.”\u003c/p>\n\u003cfigure id=\"attachment_11741657\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Michael.jpg\" alt=\"Michael Rouppet, interviewed by Manon Vergerio\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Michael Rouppet, interviewed by Manon Vergerio \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘That was me’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/michael-rouppet\" target=\"_blank\" rel=\"noopener\">Michael Rouppet\u003c/a>, an HIV positive man who was homeless for nearly a year after being evicted from his Alamo Square apartment, now volunteers with the \u003ca href=\"http://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, providing services and resources to the city’s most disenfranchised people. \u003c/p>\n\u003cp>Locked out of his apartment with just his dog, one satchel and the clothes on his back, Rouppet is still trying to find out what happened to all of his possessions. “I’d like to know and I’ve been asking the court for two years, where are my things?” he says. “My wedding ring, my family photos, my mother’s recipes, not just my clothes and my underwear and my medication. My grandmother’s silver set. I’d like to know where these things are.”\u003c/p>\n\u003cp>On the street, Rouppet suffered debilitating cellulitis. It was other homeless people who took care of him. “The humanity that homeless people show each other, they taught me so much,” he says. \u003c/p>\n\u003caside class=\"pullquote alignright\">“He’s setting the example we should all live by.” \u003ccite>Vince Crisostomo\u003c/cite>\u003c/aside>\n\u003cp>Rouppet says volunteering with the SF AIDS Foundation helped him find his bearings. Vince Crisostomo, manager of the foundation’s \u003ca href=\"http://sfaf.org/client-services/50-plus/?referrer=http://sfaf.org/hiv-info/hot-topics/from-the-experts/whats-new-with-50-plus.html\" target=\"_blank\" rel=\"noopener\">50-Plus Network\u003c/a>, interjects in the recording. “When Michael talks about volunteering, it goes so far beyond that,” he says. “It just makes me cry thinking about it.” \u003c/p>\n\u003cp>When out in the field working with the city’s homeless population, Crisostomo explains, Rouppet always reaches out to even the most isolated individuals, saying, “That was me.” \u003c/p>\n\u003cp>“He’s setting the example we should all live by,” Crisostomo says. “We should remember that that could be us.”\u003c/p>\n\u003cfigure id=\"attachment_11741668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Screen-Shot-2016-06-26-at-2.09.41-PM-e1467004823386.png\" alt=\"Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories.\" width=\"1200\" height=\"669\" class=\"size-full wp-image-11741668\">\u003cfigcaption class=\"wp-caption-text\">Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories. \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While A(E)MP’s maps, murals and community events make visible the connections between global capital, real estate, high tech and the local political economy, what emerges from the oral history project are the effects of these entanglements on the city’s most vulnerable individuals. To listen to someone’s story, told plainly and honestly, is to momentarily inhabit their world, their struggles and goals. Empathy, a quality so many of the oral history interviewees wish to see more of in San Francisco, is the inevitable result. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Rouppet’s interviewer Manon Vergerio asks what newcomers to the Bay Area could do to better understand each other, and the homeless population more specifically, he says, “Talk to them. Rather than speaking for a population that doesn’t have representation, talk to them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271470763″ 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>\u003ca href=\"http://www.artlifting.com/collections/jo-jackson\" target=\"_blank\" rel=\"noopener\">Jo Jackson\u003c/a> is working this sunny late spring afternoon on a series of small watercolors. “I like to build colors,” Jackson says. “I’m making a sun shape first, so that’s just an easy circular motion that’s so relaxing for me, then I get very bold and add a bright red.”\u003c/p>\n\u003cp>Jackson is a thin white woman, often bundled in a sweater and scarf. For years, she taught dance in Bolivia and Venezuela. But a series of personal setbacks over the past few years left her living in a San Francisco single room occupancy hotel (SRO), and then in a numbered bunk bed in a Tenderloin women’s shelter.\u003c/p>\n\u003cp>Jackson especially likes making collages and working with paints. Art, Jackson says, is both a form of expression and a kind of therapy. “Art for me is like water, like a river,” she says. “And water is very life giving and healing.”\u003c/p>\n\u003cfigure id=\"attachment_11746044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11746044 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg\" alt=\"Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1920x1237.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-960x618.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson values the free art studio provided by \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>. The homeless services provider is located in the mid-Market neighborhood near 6th Street, a fast gentrifying part of the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a busy place. As Jackson works on her painting, more than dozen artists, most in living situations like Jackson’s, sketch with pastels or paint with acrylics. A pottery wheel sits against a wall in the studio, next to racks of paper and other supplies.\u003c/p>\n\u003cp>\u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a> has served the homeless for nearly 50 years. The facility offers a men’s shelter, leadership development workshops, and job training programs. It also offers the only fine arts studio for the homeless in San Francisco, with more than 3,500 people using the space each year.\u003c/p>\n\u003cp>\u003cstrong>How art helps homeless people\u003c/strong>\u003c/p>\n\u003cp>When you’re lacking the basics of food and shelter, art might not seem like a priority. Yet visitors to Hospitality House consider the creative offerings essential to their existence. “The opportunity to create should be open to everyone, whether you have a home or not,” says Hospitality House executive director Jackie Jenks.\u003c/p>\n\u003cfigure id=\"attachment_11746046\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11746046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jo-Jackson-Collage-e1467131532796.jpg\" alt=\"A collage Jo Jackson sold at silent auction at Hospitality house\" width=\"320\" height=\"180\">\u003cfigcaption class=\"wp-caption-text\">A collage Jo Jackson sold at silent auction at Hospitality house \u003ccite>(Photo: Courtesy Jo Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson, together with fellow Hospitality House artist Billy Crawford, recently had an art opening at the space. They’re showing their work at Hospitality House through Friday, Jul. 22. Jackson has sold a few paintings, she says. And all the artists gets 100 percent of the proceeds from sales of their work. Jenks says Hospitality House artists made $16,000 last year.\u003c/p>\n\u003cp>Art has been an essential service for Hospitality House since 1969, two years after its founding. “The walls can really seem to close in on you in an SRO or a shelter,” Jenks says. “But here, they’re sharing the beauty of what they can create and what’s in their hearts.”\u003c/p>\n\u003cp>\u003cstrong>A common vision\u003c/strong>\u003c/p>\n\u003cp>Hospitality House isn’t the only organization in the neighborhood that offers opportunities for homeless people to tap into their creative selves. Jackson is also a frequent visitor at The Healing Well, an offshoot of the street ministry called \u003ca href=\"http://www.faithfulfools.org/\" target=\"_blank\" rel=\"noopener\">Faithful Fools\u003c/a>. The two organizations share a narrow and cozy building on Hyde Street on the edge of the Tenderloin, where they offer free poetry, yoga, meditation, and clowning classes.\u003c/p>\n\u003cp>“When I first got involved in this work, I thought, you’ve got to be kidding,” says Kathy Curran, Healing Well’s founder and director.\u003cbr>\n“We’re offering classes like yoga and meditation, and art and poetry. Shouldn’t we be helping these people find housing and get jobs?”\u003c/p>\n\u003cp>But Curran soon saw the value of Healing Well’s offerings. “I quickly realized how important it is for people to have a place where they can develop a sense of calm and confidence in coping with the trials of the past and the opportunities of the future,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11746043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11746043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg\" alt=\"An art show in the window of the Community Arts Center at Hospitaity House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An art show in the window of the Community Arts Center at Hospitality House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Back at Hospitality House, Jackson puts her paintbrush in a cup of water. Jackson has found temporary housing for the next three months. She says should be okay, as long as she can continue to make art. “Homelessness isn’t who I am,” Jackson says. “It happens to be something I’m going through right now.”\u003c/p>\n\n",
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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/271470763″&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/271470763″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.artlifting.com/collections/jo-jackson\" target=\"_blank\" rel=\"noopener\">Jo Jackson\u003c/a> is working this sunny late spring afternoon on a series of small watercolors. “I like to build colors,” Jackson says. “I’m making a sun shape first, so that’s just an easy circular motion that’s so relaxing for me, then I get very bold and add a bright red.”\u003c/p>\n\u003cp>Jackson is a thin white woman, often bundled in a sweater and scarf. For years, she taught dance in Bolivia and Venezuela. But a series of personal setbacks over the past few years left her living in a San Francisco single room occupancy hotel (SRO), and then in a numbered bunk bed in a Tenderloin women’s shelter.\u003c/p>\n\u003cp>Jackson especially likes making collages and working with paints. Art, Jackson says, is both a form of expression and a kind of therapy. “Art for me is like water, like a river,” she says. “And water is very life giving and healing.”\u003c/p>\n\u003cfigure id=\"attachment_11746044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11746044 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg\" alt=\"Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1920x1237.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-960x618.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson values the free art studio provided by \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>. The homeless services provider is located in the mid-Market neighborhood near 6th Street, a fast gentrifying part of the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a busy place. As Jackson works on her painting, more than dozen artists, most in living situations like Jackson’s, sketch with pastels or paint with acrylics. A pottery wheel sits against a wall in the studio, next to racks of paper and other supplies.\u003c/p>\n\u003cp>\u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a> has served the homeless for nearly 50 years. The facility offers a men’s shelter, leadership development workshops, and job training programs. It also offers the only fine arts studio for the homeless in San Francisco, with more than 3,500 people using the space each year.\u003c/p>\n\u003cp>\u003cstrong>How art helps homeless people\u003c/strong>\u003c/p>\n\u003cp>When you’re lacking the basics of food and shelter, art might not seem like a priority. Yet visitors to Hospitality House consider the creative offerings essential to their existence. “The opportunity to create should be open to everyone, whether you have a home or not,” says Hospitality House executive director Jackie Jenks.\u003c/p>\n\u003cfigure id=\"attachment_11746046\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11746046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jo-Jackson-Collage-e1467131532796.jpg\" alt=\"A collage Jo Jackson sold at silent auction at Hospitality house\" width=\"320\" height=\"180\">\u003cfigcaption class=\"wp-caption-text\">A collage Jo Jackson sold at silent auction at Hospitality house \u003ccite>(Photo: Courtesy Jo Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson, together with fellow Hospitality House artist Billy Crawford, recently had an art opening at the space. They’re showing their work at Hospitality House through Friday, Jul. 22. Jackson has sold a few paintings, she says. And all the artists gets 100 percent of the proceeds from sales of their work. Jenks says Hospitality House artists made $16,000 last year.\u003c/p>\n\u003cp>Art has been an essential service for Hospitality House since 1969, two years after its founding. “The walls can really seem to close in on you in an SRO or a shelter,” Jenks says. “But here, they’re sharing the beauty of what they can create and what’s in their hearts.”\u003c/p>\n\u003cp>\u003cstrong>A common vision\u003c/strong>\u003c/p>\n\u003cp>Hospitality House isn’t the only organization in the neighborhood that offers opportunities for homeless people to tap into their creative selves. Jackson is also a frequent visitor at The Healing Well, an offshoot of the street ministry called \u003ca href=\"http://www.faithfulfools.org/\" target=\"_blank\" rel=\"noopener\">Faithful Fools\u003c/a>. The two organizations share a narrow and cozy building on Hyde Street on the edge of the Tenderloin, where they offer free poetry, yoga, meditation, and clowning classes.\u003c/p>\n\u003cp>“When I first got involved in this work, I thought, you’ve got to be kidding,” says Kathy Curran, Healing Well’s founder and director.\u003cbr>\n“We’re offering classes like yoga and meditation, and art and poetry. Shouldn’t we be helping these people find housing and get jobs?”\u003c/p>\n\u003cp>But Curran soon saw the value of Healing Well’s offerings. “I quickly realized how important it is for people to have a place where they can develop a sense of calm and confidence in coping with the trials of the past and the opportunities of the future,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11746043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11746043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg\" alt=\"An art show in the window of the Community Arts Center at Hospitaity House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An art show in the window of the Community Arts Center at Hospitality House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Back at Hospitality House, Jackson puts her paintbrush in a cup of water. Jackson has found temporary housing for the next three months. She says should be okay, as long as she can continue to make art. “Homelessness isn’t who I am,” Jackson says. “It happens to be something I’m going through right now.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "scotty-moore-elvis-presleys-first-guitarist-dies-at-84",
"title": "Scotty Moore, Elvis Presley's First Guitarist, Dies at 84",
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"content": "\u003cp>Scotty Moore, the pioneering rock guitarist whose sharp, graceful style helped Elvis Presley shape his revolutionary sound and inspired a generation of musicians that included Keith Richards, Jimmy Page and Bruce Springsteen, died Tuesday. He was 84.\u003c/p>\n\u003cp>Moore died at his home in Nashville, said biographer and friend James L. Dickerson, who confirmed the death through a family friend.\u003c/p>\n\u003cp>“As a musician, I consider him one of the co-founders of rock ‘n’ roll because of the guitar licks that he invented,” Dickerson said, calling Moore an icon.\u003c/p>\n\u003cp>Presley’s ex-wife Priscilla Presley echoed that sentiment in a statement Tuesday night: “Elvis loved Scotty dearly and treasured those amazing years together, both in the studio and on the road. Scotty was an amazing musician and a legend in his own right. The incredible music that Scotty and Elvis made together will live forever and influence generations to come.”\u003c/p>\n\u003cp>Moore, a member of the Rock and Roll Hall of Fame, was the last survivor of a combo that included Presley, bassist Bill Black and producer Sam Phillips.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore was a local session musician when he and Black were thrown together with Presley on July 5, 1954, in the Memphis-based Sun Records studios. Presley was a self-effacing, but determined teen anxious to make a record. Moore’s bright riffs and fluid solos — natural compliments to Presley’s strumming rhythm guitar — and Black’s hard-slapping work on a standup bass gave Elvis the foundation on which he developed a fresh blend of blues, gospel and country that came to be called rock ‘n’ roll.\u003c/p>\n\u003cp>“One day, we went to have coffee with Sam and his secretary, Marion Keisker, and she was the one who brought up Elvis,” Moore said in a 2014 interview with Guitar Player magazine. “We didn’t know, but Marion had a crush on Elvis, and she asked Sam if he had ever talked to that boy who had been in there.\u003c/p>\n\u003cp>“Sam said to Marion, ‘Go back in there and get that boy’s telephone number, and give it to Scotty.’ Then, Sam turned to me and said, ‘Why don’t you listen to this boy, and see what you think.’ Marion came back with a slip of paper, and it said ‘Elvis Presley.’ I said, ‘Elvis Presley — what the hell kind of a name is that?'”\u003c/p>\n\u003cp>For the now-legendary Sun sessions they covered a wide range of songs, from “That’s All Right” to “Mystery Train.” After “That’s All Right” began drawing attention, Presley, Moore and Black took to the road playing any gig they could find, large or small, adding drummer D.J. Fontana and trying their best to be heard over thousands of screaming fans.\u003c/p>\n\u003cp>The hip-shaking Presley soon rose from regional act to superstardom, signing up with RCA Records and topping the charts with “Heartbreak Hotel,” ”All Shook Up” and many other hits. Elvis was the star, but young musicians listened closely to Moore’s contributions, whether the slow, churning solo he laid down on “Heartbreak Hotel” or the flashy lead on “Hard-Headed Woman.”\u003c/p>\n\u003cp>“Everyone else wanted to be Elvis,” Richards once observed. “I wanted to be Scotty.”\u003c/p>\n\u003cp>Moore, Black and Fontana backed Presley for his shocking TV appearances and early movies, but by 1957 had tired of what Moore called “Elvis economics.” In the memoir “That’s Alright, Elvis,” published in 1997, Moore noted that he earned just over $8,000 in 1956, while Presley became a millionaire. Moore also cited tension with Elvis’ manager, “Colonel” Tom Parker.\u003c/p>\n\u003cp>“We couldn’t go talk to Elvis and talk about anything,” Moore, who along with Black left Presley’s group, told The Tennessean newspaper in 1997. “There wasn’t ever any privacy. It was designed that way, but not by Elvis. It’s not that I feel bitterness, just disappointment.”\u003c/p>\n\u003cp>Moore worked one more time with Elvis, for the 1968 “comeback” TV special that helped return him to the top of the charts. But Moore’s compensation didn’t even cover his travel expenses, he would recall, and he was not asked to join Presley’s band for his tours in the 1970s. (Presley died in 1977).\u003c/p>\n\u003cp>Starting in the late 1950s, Moore worked on various projects. In 1959, singer Thomas Wayne had a Top 5 hit, “Tragedy,” on Moore’s Fernwood record label. Moore put out a solo album in 1964 called “The Guitar That Changed the World!” and with Fontana played on the 1997 Presley tribute album “All the King’s Men,” featuring Richards, Levon Helm and other stars. He and Fontana also backed Paul McCartney for the ex-Beatle’s cover of “That’s All Right.” In 2000, Moore was inducted into the Rock Hall of Fame. More recently, he was a recording studio manager, engineer and businessman.\u003c/p>\n\u003cp>“He was a class act as a human being,” biographer Dickerson told The Associated Press late Tuesday. “Besides being one of the best guitarists that ever lived and most inventive, he was a great person, and you don’t always find that in the music industry.”\u003c/p>\n\u003cp>Dickerson said a family member of Moore’s longtime companion, Gail Pollock, who had been staying in the house with Moore confirmed the death Tuesday. Pollock died in November 2015.\u003c/p>\n\u003cp>Moore was born near Gadsden, Tennessee, in 1931, and learned guitar at an early age. He was a fan of jazz and country and was strongly influenced by Chet Atkins and Les Paul. After serving in the Navy, he settled in Memphis, working at a dry cleaning plant during the day and playing music after his shift was over.\u003c/p>\n\u003cp>Phillips, who had not been impressed with Presley at first, had called in Moore and Black to work with the young singer. The two had been recorded by Phillips previously as members of a country-Western band, The Starlite Wranglers.\u003c/p>\n\u003cp>“I wanted them to get together (with Presley) and get a feel for each other,” Phillips told the Los Angeles Times in 1981. “I also told them to keep an eye out for material.”\u003c/p>\n\u003cp>Moore told of that recording session many times over the years, remembering that it was not going well until Presley broke into a spontaneous, upbeat version of “That’s All Right.” The song, also called “That’s All Right, Mama,” was originally recorded by bluesman Arthur “Big Boy” Crudup in 1946.\u003c/p>\n\u003cp>Moore and Black began jamming with Presley and helped work out the version that Phillips put on tape.\u003c/p>\n\u003cp>“Sam poked his head out of the door — this was before mixing consoles had a talkback button — and he said, ‘What are you guys doing? That sounds pretty good. Why don’t you keep doing it,'” Moore told Guitar Player. “So I got my guitar, ran through it a couple of times, and that was it. That was the beginning of, how do you say it — all hell breaking loose!”\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"title": "Scotty Moore, Elvis Presley's First Guitarist, Dies at 84 | KQED",
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"headline": "Scotty Moore, Elvis Presley's First Guitarist, Dies at 84",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scotty Moore, the pioneering rock guitarist whose sharp, graceful style helped Elvis Presley shape his revolutionary sound and inspired a generation of musicians that included Keith Richards, Jimmy Page and Bruce Springsteen, died Tuesday. He was 84.\u003c/p>\n\u003cp>Moore died at his home in Nashville, said biographer and friend James L. Dickerson, who confirmed the death through a family friend.\u003c/p>\n\u003cp>“As a musician, I consider him one of the co-founders of rock ‘n’ roll because of the guitar licks that he invented,” Dickerson said, calling Moore an icon.\u003c/p>\n\u003cp>Presley’s ex-wife Priscilla Presley echoed that sentiment in a statement Tuesday night: “Elvis loved Scotty dearly and treasured those amazing years together, both in the studio and on the road. Scotty was an amazing musician and a legend in his own right. The incredible music that Scotty and Elvis made together will live forever and influence generations to come.”\u003c/p>\n\u003cp>Moore, a member of the Rock and Roll Hall of Fame, was the last survivor of a combo that included Presley, bassist Bill Black and producer Sam Phillips.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore was a local session musician when he and Black were thrown together with Presley on July 5, 1954, in the Memphis-based Sun Records studios. Presley was a self-effacing, but determined teen anxious to make a record. Moore’s bright riffs and fluid solos — natural compliments to Presley’s strumming rhythm guitar — and Black’s hard-slapping work on a standup bass gave Elvis the foundation on which he developed a fresh blend of blues, gospel and country that came to be called rock ‘n’ roll.\u003c/p>\n\u003cp>“One day, we went to have coffee with Sam and his secretary, Marion Keisker, and she was the one who brought up Elvis,” Moore said in a 2014 interview with Guitar Player magazine. “We didn’t know, but Marion had a crush on Elvis, and she asked Sam if he had ever talked to that boy who had been in there.\u003c/p>\n\u003cp>“Sam said to Marion, ‘Go back in there and get that boy’s telephone number, and give it to Scotty.’ Then, Sam turned to me and said, ‘Why don’t you listen to this boy, and see what you think.’ Marion came back with a slip of paper, and it said ‘Elvis Presley.’ I said, ‘Elvis Presley — what the hell kind of a name is that?'”\u003c/p>\n\u003cp>For the now-legendary Sun sessions they covered a wide range of songs, from “That’s All Right” to “Mystery Train.” After “That’s All Right” began drawing attention, Presley, Moore and Black took to the road playing any gig they could find, large or small, adding drummer D.J. Fontana and trying their best to be heard over thousands of screaming fans.\u003c/p>\n\u003cp>The hip-shaking Presley soon rose from regional act to superstardom, signing up with RCA Records and topping the charts with “Heartbreak Hotel,” ”All Shook Up” and many other hits. Elvis was the star, but young musicians listened closely to Moore’s contributions, whether the slow, churning solo he laid down on “Heartbreak Hotel” or the flashy lead on “Hard-Headed Woman.”\u003c/p>\n\u003cp>“Everyone else wanted to be Elvis,” Richards once observed. “I wanted to be Scotty.”\u003c/p>\n\u003cp>Moore, Black and Fontana backed Presley for his shocking TV appearances and early movies, but by 1957 had tired of what Moore called “Elvis economics.” In the memoir “That’s Alright, Elvis,” published in 1997, Moore noted that he earned just over $8,000 in 1956, while Presley became a millionaire. Moore also cited tension with Elvis’ manager, “Colonel” Tom Parker.\u003c/p>\n\u003cp>“We couldn’t go talk to Elvis and talk about anything,” Moore, who along with Black left Presley’s group, told The Tennessean newspaper in 1997. “There wasn’t ever any privacy. It was designed that way, but not by Elvis. It’s not that I feel bitterness, just disappointment.”\u003c/p>\n\u003cp>Moore worked one more time with Elvis, for the 1968 “comeback” TV special that helped return him to the top of the charts. But Moore’s compensation didn’t even cover his travel expenses, he would recall, and he was not asked to join Presley’s band for his tours in the 1970s. (Presley died in 1977).\u003c/p>\n\u003cp>Starting in the late 1950s, Moore worked on various projects. In 1959, singer Thomas Wayne had a Top 5 hit, “Tragedy,” on Moore’s Fernwood record label. Moore put out a solo album in 1964 called “The Guitar That Changed the World!” and with Fontana played on the 1997 Presley tribute album “All the King’s Men,” featuring Richards, Levon Helm and other stars. He and Fontana also backed Paul McCartney for the ex-Beatle’s cover of “That’s All Right.” In 2000, Moore was inducted into the Rock Hall of Fame. More recently, he was a recording studio manager, engineer and businessman.\u003c/p>\n\u003cp>“He was a class act as a human being,” biographer Dickerson told The Associated Press late Tuesday. “Besides being one of the best guitarists that ever lived and most inventive, he was a great person, and you don’t always find that in the music industry.”\u003c/p>\n\u003cp>Dickerson said a family member of Moore’s longtime companion, Gail Pollock, who had been staying in the house with Moore confirmed the death Tuesday. Pollock died in November 2015.\u003c/p>\n\u003cp>Moore was born near Gadsden, Tennessee, in 1931, and learned guitar at an early age. He was a fan of jazz and country and was strongly influenced by Chet Atkins and Les Paul. After serving in the Navy, he settled in Memphis, working at a dry cleaning plant during the day and playing music after his shift was over.\u003c/p>\n\u003cp>Phillips, who had not been impressed with Presley at first, had called in Moore and Black to work with the young singer. The two had been recorded by Phillips previously as members of a country-Western band, The Starlite Wranglers.\u003c/p>\n\u003cp>“I wanted them to get together (with Presley) and get a feel for each other,” Phillips told the Los Angeles Times in 1981. “I also told them to keep an eye out for material.”\u003c/p>\n\u003cp>Moore told of that recording session many times over the years, remembering that it was not going well until Presley broke into a spontaneous, upbeat version of “That’s All Right.” The song, also called “That’s All Right, Mama,” was originally recorded by bluesman Arthur “Big Boy” Crudup in 1946.\u003c/p>\n\u003cp>Moore and Black began jamming with Presley and helped work out the version that Phillips put on tape.\u003c/p>\n\u003cp>“Sam poked his head out of the door — this was before mixing consoles had a talkback button — and he said, ‘What are you guys doing? That sounds pretty good. Why don’t you keep doing it,'” Moore told Guitar Player. “So I got my guitar, ran through it a couple of times, and that was it. That was the beginning of, how do you say it — all hell breaking loose!”\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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