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"content": "\u003cp>On Saturday, the world lost the artist Alan Vega, better known as the lead singer of Suicide, the proto techno punk band that Bruce Springsteen loved and \u003ca href=\"https://en.wikipedia.org/wiki/23_Minutes_Over_Brussels\" target=\"_blank\" rel=\"noopener\">Belgians hated\u003c/a>, and a consummate artist who helped to transform the definition of what constitutes a musical performance.\u003c/p>\n\u003cp>Vega was 78 when he died in his \u003ca href=\"http://www.nytimes.com/2016/07/18/arts/music/alan-vega-punk-music-pioneer-and-artist-dies-at-78.html\" target=\"_blank\" rel=\"noopener\">sleep over the weekend\u003c/a>. But he managed to live much longer than many of his contemporaries, including all of the original Ramones. He was born Boruch Alan Bermowitz in Brooklyn in 1938 and was 32 when Suicide began in 1970. Inspired by Iggy and the Stooges, free jazz and \u003ci>Ghost Rider\u003c/i> comics, Vega and his musical partner Martin Rev (“the instrument”) created an unusual rockabilly-meets-primitive electronica sound. (At the time, people called it “punk music.”)\u003c/p>\n\u003cp>\u003cstrong>Pushing the wild frontman persona\u003c/strong>\u003c/p>\n\u003cp>Challenged with prospect of performing live to dense musical landscapes bereft of catchy hooks and other pop tropes, Vega wanted to bring something new to the stage. Inspired by the stage antics of the young Iggy Pop, Vega took the wild frontman persona a step further and made himself one of the scariest men in punk to grab a mic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1woMEExMZXg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There was never a smile on Vega’s face when he took the stage; only a sneer. As he vocally aped Gene Vincent, punctuating songs about \u003ca href=\"https://www.youtube.com/watch?v=8_dXp0eF8s0\" target=\"_blank\" rel=\"noopener\">young men slaughtering their families\u003c/a> with his blood-curdling screams, Vega stared at the audience with contempt, smashing his face with a microphone, and cutting himself with safety pins and other sharp objects.\u003c/p>\n\u003cp>His performances were not only \u003ca href=\"http://noisey.vice.com/en_au/blog/the-early-years-of-suicide-with-alan-vega-and-martin-rev\" target=\"_blank\" rel=\"noopener\">confrontational\u003c/a>, they were also weaponized — he often had a motorcycle chain and he’d whip the stage with it. To quote New York Dolls bassist Arthur Kane (RIP) in the movie \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=w-qH4dK_0hM\" target=\"_blank\" rel=\"noopener\">Punk Attitude\u003c/a>\u003c/i>:\u003c/p>\n\u003cblockquote>\u003cp>Marty would start playing, and he’d sing a couple notes, then he’d start whipping the floor with this eight-foot bolt of this chain. This completely frightened people out of the room.\u003c/p>\u003c/blockquote>\n\u003cp>Isn’t sending a crowd running out the door the last thing a band wants to do?\u003c/p>\n\u003cp>\u003cstrong>Out to destroy conventions\u003c/strong>\u003c/p>\n\u003cp>Suicide wasn’t meant to be a popular group; they were out to destroy musical conventions. No guitars or drums, no flashy clothes, no choruses and only the occasional melody.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCRTCqgAkfg\u003c/p>\n\u003cp>Yet Suicide was very influential. The band created the foundation of industrial music. Its brand of confrontational live performance would become a punk rock staple — singers like James Chance and GG Allin would take fights with the audience to legendary levels. Suicide released five albums — the second one recorded by Ric Ocasek of The Cars — and the band’s songs have been covered by a wide variety of artists, from Bruce Springsteen to Henry Rollins. Suicide’s sound even made its way into the pop world, with the synth riff from “Ghost Rider” serving as the bed for M.I.A.’s 2010 single, “\u003ca href=\"https://www.youtube.com/watch?v=kEdk8YhieSQ\" target=\"_blank\" rel=\"noopener\">Born Free\u003c/a>.”\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=10154838449213682&id=28556888681\u003c/p>\n\u003cp>\u003cstrong>A nice guy? \u003c/strong>\u003c/p>\n\u003cp>Despite his savage stage persona, Vega was essentially a nice guy who loved art. And he always challenged others with his work, which went beyond his musical career with Suicide to include 10 solo albums and even a series of \u003ca href=\"http://www.villagevoice.com/news/suicide-watch-6414502\" target=\"_blank\" rel=\"noopener\">crude light sculptures\u003c/a> .\u003c/p>\n\u003cp>But let’s not remember Vega as a nice guy. Let’s celebrate the artist who never shied away from looking straight into the eyes of a crowd to tell it, “F*CK YOU.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KPNO5f4yO_g\u003c/p>\n\n",
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"content": "\u003cp>You may not recognize her name, but you’ve probably seen one of Anne Brigman’s photos before. She photographed people — including herself — nude, in dramatic poses against wild, natural backdrops, often in the High Sierras. Her photographs have become textbook examples of “Pictorialism,” a phase in photographic history which flourished in the late 19th and early 20th centuries — a time when photographers tried to justify their worth in a world more fond of painting. Pictorialist photographers manipulated their images to make them look more like “artistic creations” than mere realistic snaps of a subject.\u003c/p>\n\u003cp>“Photography was a new medium then,” says\u003cstrong> \u003c/strong>Marianne McGrath, curator at New Museum Los Gatos, which is showing \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Heart of the Wild: Anne Brigman and her Circle\u003c/em>\u003c/a>. “Artists wanted to elevate photography to the level of other fields and be taken seriously.”\u003c/p>\n\u003cp>Brigman wanted to be taken seriously. A mere year after she took up photography in 1901, she wrote a letter to Alfred Stieglitz, the godfather of art photography of her day. Stieglitz rewarded Brigman’s moxie and talent by inducting her into the Photo-Secession movement. Photo-Secessionists championed the idea that a photograph need not be slavishly dedicated to the depiction of reality, but instead composed and even manipulated to deliver a compelling subjective vision.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/274266602″ 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>Brigman was one of only a handful of west coast photographers to be accepted by the Photo-Secessionists. Stieglitz also published her photos in \u003cem>Camera Work\u003c/em>, his taste-making quarterly. “That was the publication that brought Anne Brigman to the forefront nationally and then internationally,” says McGrath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brigman won awards here and abroad. Her work was exhibited all over the Bay Area, as well as in Chicago, New York, Tokyo and Madrid, to name just a few places. She helped photographer Francis Bruguière organize an exhibition of pictorial photographs for the 1915 Panama-Pacific International Exposition in San Francisco, at which she won the grand prize.\u003c/p>\n\u003cp>\u003cstrong>A pagan child of missionaries\u003c/strong>\u003c/p>\n\u003cp>This was not the life Brigman’s parents had in mind for their daughter. The child and grandchild of Christian missionaries, Brigman was born in Honolulu and moved to Los Gatos at age 16 with her parents. When she married a sea captain a few years later, she seemed to be heading towards a conventional life.\u003c/p>\n\u003cp>Brigman had dabbled in painting landscapes, along with many women of the day, but she also immersed herself in the Bay Area’s thriving bohemian artistic community. She developed friendships with artists like painter William Keith and author Jack London. She also wrote and acted in theatrical productions.\u003c/p>\n\u003cp>Advancing technology made photography more accessible and popular as the century turned, and Brigman adopted it with a passion. She created her first serious portrait — of her husband — in 1900, and quickly moved into the public sphere. She first exhibited her photographs in early 1902 at the San Francisco Photographic Salon. By May of that year, she won a prize in the First Los Angeles Photographic Salon, and saw some of her images published in \u003cem>Camera Craft.\u003c/em>\u003c/p>\n\u003cp>Brigman started taking multi-day hikes in the Sierra Nevada with her camera kit in tow. It was not the sort of thing many women did back then. “People didn’t have the equipment that we have today,” McGrath says. “There was no REI. She toted a heavy camera and a wooden tripod and enough supplies for these long ventures into the Sierras.”\u003c/p>\n\u003cfigure id=\"attachment_11812084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812084 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg\" alt=\"Detail of Anne Brigman,'Dawn,' 1912. Photogravure from Camera Work No. 38. "There’s something poetic in every photograph," says Marianne McGrath, curator at New Museum Los Gatos.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Anne Brigman,’Dawn,’ 1912. Photogravure from Camera Work No. 38. “There’s something poetic in every photograph,” says Marianne McGrath, curator at New Museum Los Gatos. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigman’s models were family members, close friends, and often, herself. Her work hinted at a wild world full of fairies and nymphs, Greco-Roman mythology and also the pantheistic tales Brigman picked up during her childhood in Hawaii.\u003c/p>\n\u003cp>Brigman wasn’t the only female Pictorialist on the west coast, and she wasn’t the only Pictorialist doing nudes. Nevertheless, the effect of her images on the public was shocking.\u003c/p>\n\u003cp>“The style of nudes she did –- out in the open air, in high elevations in the Sierras with the bristle cone pines and the granite and so forth –- a lot of the photographic establishment was very critical of that,” says Drew Johnson, curator of photography and visual culture at the \u003ca href=\"http://collections.museumca.org/?q=list/taxonomy/term/1523\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. (Oakland has one of two top-tier collections of Brigman’s work in the U.S., alongside the \u003ca href=\"http://www.geh.org/ar/strip81/htmlsrc/brigmanetal_sum00002.html\" target=\"_blank\" rel=\"noopener\">George Eastman House\u003c/a> in Rochester, New York.) “They would say things like ‘She takes these scrawny, skinny California women, and just sticks them in a tree or something.’ Of course, from her point of view, she was exalting the athletic Western woman.”\u003c/p>\n\u003cp>In 1910, Brigman separated from her husband. The reasons for the split are hazy. “He had his way of looking at things and I had mine,” Brigman told a reporter for the \u003ci>San Francisco Call \u003c/i>in 1913. “We developed along different lines,” Brigman is quoted saying in an article titled “Fear Retards Woman, Avers Mrs. Brigman.” After a pilgrimage to New York to meet with Stieglitz and others, she returned to Oakland and set up a new home, and was a grande dame of the local arts scene. Her studio became a gathering place for Northern California’s finest photographers, like Imogen Cunningham, Edward Weston, and Louise Dahl-Wolfe.\u003c/p>\n\u003cp>\u003cstrong>Why Brigman disappeared from view\u003c/strong>\u003c/p>\n\u003cp>Avant-garde artists began to back away from Pictorialism in the 1920s, although its lamp continued to flicker all the way to World War II. Johnson says the very aesthetic that helped to push photography as a serious artistic medium became an embarrassing, drippy reminder of the craft’s infancy. “It was almost written out of the history books,” Johnson says. “It was in such low critical repute for most of the second half of the 20\u003csup>th\u003c/sup> century.” Some of the very same photographers — like Adams, Cunningham and Weston — with whom Brigman had celebrated Romanticism, joined a different group dedicated to the modern aesthetic, called Group f/64.\u003c/p>\n\u003cp>[contextly_sidebar id=”f8pyw4aKMQQFTaA9zMyI7L8mJj63yuFg”]But Brigman couldn’t move on as decisively as many of her compatriots. When she moved south to Long Beach in 1929 to be near family, the photographer expanded her creative output to include drawings, prints, etchings and poetry. She created mock-ups for three books combining poems with photographs and her poems, one of which was published — \u003cem>Songs of a Pagan, \u003c/em>in\u003cem> \u003c/em>1949.\u003c/p>\n\u003cp>\u003cstrong>Her legacy today\u003c/strong>\u003c/p>\n\u003cp>Anne Brigman many not be a household name now. “Anne Brigman is very well known to photography historians,” McGrath says. “But not that well known to your average person.” However, her influence lingers, and can be seen in the work of artists like \u003ca href=\"http://www.spencertunick.com/\">Spencer Tunick\u003c/a>. \u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">In the Heart of the Wild\u003c/a> \u003c/em>offers a couple of examples, including this one from Bay Area-based artist Judy Dater.\u003c/p>\n\u003cfigure id=\"attachment_11812194\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812194\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg\" alt=\"Judy Dater, 'Self Portrait with Stone,' 1981.\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut.jpg 1330w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dater, ‘Self Portrait with Stone,’ 1981. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McGrath herself might not have known much more about Brigman than a few bullet points if she hadn’t been looking for a prominent artist with Los Gatos connections to profile. Now, after months of research and exploration, McGrath has grown fond of her. “Her enthusiasm, her passion for what she did, her love for the environment, and the fact she was always herself and true to what she wanted in her life,” McGrath says by way of explaining why this artists still resonates today. “She’s just delightful.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In the Heart of the Wild: Anne Brigman and her Circle continues through Jan. 8, 2017. For more information, head \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"excerpt": "A new exhibition at New Museum Los Gatos sheds light on pioneering Pictorialist photographer Anne Brigman.",
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"title": "Trail-Blazing Bay Area Photographer Gets Her Due in Los Gatos Exhibition | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may not recognize her name, but you’ve probably seen one of Anne Brigman’s photos before. She photographed people — including herself — nude, in dramatic poses against wild, natural backdrops, often in the High Sierras. Her photographs have become textbook examples of “Pictorialism,” a phase in photographic history which flourished in the late 19th and early 20th centuries — a time when photographers tried to justify their worth in a world more fond of painting. Pictorialist photographers manipulated their images to make them look more like “artistic creations” than mere realistic snaps of a subject.\u003c/p>\n\u003cp>“Photography was a new medium then,” says\u003cstrong> \u003c/strong>Marianne McGrath, curator at New Museum Los Gatos, which is showing \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Heart of the Wild: Anne Brigman and her Circle\u003c/em>\u003c/a>. “Artists wanted to elevate photography to the level of other fields and be taken seriously.”\u003c/p>\n\u003cp>Brigman wanted to be taken seriously. A mere year after she took up photography in 1901, she wrote a letter to Alfred Stieglitz, the godfather of art photography of her day. Stieglitz rewarded Brigman’s moxie and talent by inducting her into the Photo-Secession movement. Photo-Secessionists championed the idea that a photograph need not be slavishly dedicated to the depiction of reality, but instead composed and even manipulated to deliver a compelling subjective vision.\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/274266602″&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/274266602″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brigman was one of only a handful of west coast photographers to be accepted by the Photo-Secessionists. Stieglitz also published her photos in \u003cem>Camera Work\u003c/em>, his taste-making quarterly. “That was the publication that brought Anne Brigman to the forefront nationally and then internationally,” says McGrath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brigman won awards here and abroad. Her work was exhibited all over the Bay Area, as well as in Chicago, New York, Tokyo and Madrid, to name just a few places. She helped photographer Francis Bruguière organize an exhibition of pictorial photographs for the 1915 Panama-Pacific International Exposition in San Francisco, at which she won the grand prize.\u003c/p>\n\u003cp>\u003cstrong>A pagan child of missionaries\u003c/strong>\u003c/p>\n\u003cp>This was not the life Brigman’s parents had in mind for their daughter. The child and grandchild of Christian missionaries, Brigman was born in Honolulu and moved to Los Gatos at age 16 with her parents. When she married a sea captain a few years later, she seemed to be heading towards a conventional life.\u003c/p>\n\u003cp>Brigman had dabbled in painting landscapes, along with many women of the day, but she also immersed herself in the Bay Area’s thriving bohemian artistic community. She developed friendships with artists like painter William Keith and author Jack London. She also wrote and acted in theatrical productions.\u003c/p>\n\u003cp>Advancing technology made photography more accessible and popular as the century turned, and Brigman adopted it with a passion. She created her first serious portrait — of her husband — in 1900, and quickly moved into the public sphere. She first exhibited her photographs in early 1902 at the San Francisco Photographic Salon. By May of that year, she won a prize in the First Los Angeles Photographic Salon, and saw some of her images published in \u003cem>Camera Craft.\u003c/em>\u003c/p>\n\u003cp>Brigman started taking multi-day hikes in the Sierra Nevada with her camera kit in tow. It was not the sort of thing many women did back then. “People didn’t have the equipment that we have today,” McGrath says. “There was no REI. She toted a heavy camera and a wooden tripod and enough supplies for these long ventures into the Sierras.”\u003c/p>\n\u003cfigure id=\"attachment_11812084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812084 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg\" alt=\"Detail of Anne Brigman,'Dawn,' 1912. Photogravure from Camera Work No. 38. "There’s something poetic in every photograph," says Marianne McGrath, curator at New Museum Los Gatos.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Anne Brigman,’Dawn,’ 1912. Photogravure from Camera Work No. 38. “There’s something poetic in every photograph,” says Marianne McGrath, curator at New Museum Los Gatos. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigman’s models were family members, close friends, and often, herself. Her work hinted at a wild world full of fairies and nymphs, Greco-Roman mythology and also the pantheistic tales Brigman picked up during her childhood in Hawaii.\u003c/p>\n\u003cp>Brigman wasn’t the only female Pictorialist on the west coast, and she wasn’t the only Pictorialist doing nudes. Nevertheless, the effect of her images on the public was shocking.\u003c/p>\n\u003cp>“The style of nudes she did –- out in the open air, in high elevations in the Sierras with the bristle cone pines and the granite and so forth –- a lot of the photographic establishment was very critical of that,” says Drew Johnson, curator of photography and visual culture at the \u003ca href=\"http://collections.museumca.org/?q=list/taxonomy/term/1523\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. (Oakland has one of two top-tier collections of Brigman’s work in the U.S., alongside the \u003ca href=\"http://www.geh.org/ar/strip81/htmlsrc/brigmanetal_sum00002.html\" target=\"_blank\" rel=\"noopener\">George Eastman House\u003c/a> in Rochester, New York.) “They would say things like ‘She takes these scrawny, skinny California women, and just sticks them in a tree or something.’ Of course, from her point of view, she was exalting the athletic Western woman.”\u003c/p>\n\u003cp>In 1910, Brigman separated from her husband. The reasons for the split are hazy. “He had his way of looking at things and I had mine,” Brigman told a reporter for the \u003ci>San Francisco Call \u003c/i>in 1913. “We developed along different lines,” Brigman is quoted saying in an article titled “Fear Retards Woman, Avers Mrs. Brigman.” After a pilgrimage to New York to meet with Stieglitz and others, she returned to Oakland and set up a new home, and was a grande dame of the local arts scene. Her studio became a gathering place for Northern California’s finest photographers, like Imogen Cunningham, Edward Weston, and Louise Dahl-Wolfe.\u003c/p>\n\u003cp>\u003cstrong>Why Brigman disappeared from view\u003c/strong>\u003c/p>\n\u003cp>Avant-garde artists began to back away from Pictorialism in the 1920s, although its lamp continued to flicker all the way to World War II. Johnson says the very aesthetic that helped to push photography as a serious artistic medium became an embarrassing, drippy reminder of the craft’s infancy. “It was almost written out of the history books,” Johnson says. “It was in such low critical repute for most of the second half of the 20\u003csup>th\u003c/sup> century.” Some of the very same photographers — like Adams, Cunningham and Weston — with whom Brigman had celebrated Romanticism, joined a different group dedicated to the modern aesthetic, called Group f/64.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>But Brigman couldn’t move on as decisively as many of her compatriots. When she moved south to Long Beach in 1929 to be near family, the photographer expanded her creative output to include drawings, prints, etchings and poetry. She created mock-ups for three books combining poems with photographs and her poems, one of which was published — \u003cem>Songs of a Pagan, \u003c/em>in\u003cem> \u003c/em>1949.\u003c/p>\n\u003cp>\u003cstrong>Her legacy today\u003c/strong>\u003c/p>\n\u003cp>Anne Brigman many not be a household name now. “Anne Brigman is very well known to photography historians,” McGrath says. “But not that well known to your average person.” However, her influence lingers, and can be seen in the work of artists like \u003ca href=\"http://www.spencertunick.com/\">Spencer Tunick\u003c/a>. \u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">In the Heart of the Wild\u003c/a> \u003c/em>offers a couple of examples, including this one from Bay Area-based artist Judy Dater.\u003c/p>\n\u003cfigure id=\"attachment_11812194\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812194\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg\" alt=\"Judy Dater, 'Self Portrait with Stone,' 1981.\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut.jpg 1330w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dater, ‘Self Portrait with Stone,’ 1981. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McGrath herself might not have known much more about Brigman than a few bullet points if she hadn’t been looking for a prominent artist with Los Gatos connections to profile. Now, after months of research and exploration, McGrath has grown fond of her. “Her enthusiasm, her passion for what she did, her love for the environment, and the fact she was always herself and true to what she wanted in her life,” McGrath says by way of explaining why this artists still resonates today. “She’s just delightful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In the Heart of the Wild: Anne Brigman and her Circle continues through Jan. 8, 2017. For more information, head \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Croatian artists Olinka Vištica and Dražen Grubišić ended their romance in 2003, they were left with ordinary, seemingly insignificant items they’d shared that had meaning only to them. So they did what artists do: They turned them into art.\u003c/p>\n\u003cp>Along with pieces donated from friends’ failed love affairs, they toured their art show in 25 cities, and in 2010 the pair opened the Museum of Broken Relationships in Zagreb. Last month, in the building that once housed the lingerie shop Frederick’s of Hollywood, a permanent American branch of the museum opened, offering 105 souvenirs of heartbreak.\u003c/p>\n\u003cp>“It’s almost like we don’t choose these things, they kind of choose us,” says museum director Alexis Hyde, “these totems that get organically created in these relationships.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273894455″ 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>Though the museum sits on the same block as less-than-elegant boutiques like Souvenir Land and Chateau Denim, it has all the understated trappings of a classic gallery. Stark white walls, polished concrete floors, recessed lighting. The air is cool and people whisper. It’s a far cry from the old Frederick’s days when lace-clad mannequins lined the floor, though it’s somehow appropriate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" link=\"file\" ids=\"11021333,11021334\"]\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11021481,11021479,11021480,11021478\"]\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Croatian artists Olinka Vištica and Dražen Grubišić ended their romance in 2003, they were left with ordinary, seemingly insignificant items they’d shared that had meaning only to them. So they did what artists do: They turned them into art.\u003c/p>\n\u003cp>Along with pieces donated from friends’ failed love affairs, they toured their art show in 25 cities, and in 2010 the pair opened the Museum of Broken Relationships in Zagreb. Last month, in the building that once housed the lingerie shop Frederick’s of Hollywood, a permanent American branch of the museum opened, offering 105 souvenirs of heartbreak.\u003c/p>\n\u003cp>“It’s almost like we don’t choose these things, they kind of choose us,” says museum director Alexis Hyde, “these totems that get organically created in these relationships.”\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/273894455″&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/273894455″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though the museum sits on the same block as less-than-elegant boutiques like Souvenir Land and Chateau Denim, it has all the understated trappings of a classic gallery. Stark white walls, polished concrete floors, recessed lighting. The air is cool and people whisper. It’s a far cry from the old Frederick’s days when lace-clad mannequins lined the floor, though it’s somehow appropriate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over a period of two years, the American Conservatory Theater (A.C.T.) worked with residents of San Francisco’s Bayview-Hunters Point neighborhood on gathering stories from the community to interweave into a new play written by \u003ca href=\"https://www.facebook.com/kqedarts/videos/1108780515861397/?pnref=story\" target=\"_blank\" rel=\"noopener\">Aleshea Harris\u003c/a> based on Sophocles’ tragedy, \u003ci>Oedipus the King\u003c/i>. The resulting production, \u003ci>Crack, Rumble, Fly: Bayview Stories Project\u003c/i>, featured actors from the community and was performed at different locations around the neighborhood in June.\u003c/p>\n\u003cp>The play brings to the theater questions about marginalization, police brutality and displacement — key issues for the residents of this part of San Francisco.\u003c/p>\n\u003cp>“We want to be able to tell the story because this is not only going on in the Bayview-Hunters Point or in the East Bay. It’s going on everywhere – Sarasota, Florida, Atlanta, New York,” says the production’s assistant director Whitney Mignon Reed. “This project for me is the antithesis of grief.”\u003c/p>\n\u003cp>A.C.T. created the production via its Stage Coach initiative — a program that aims to engage underserved communities in San Francisco through theater-based storytelling projects about their own lives and experiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Power-and-blood fantasy saga \u003cem>Game of Thrones\u003c/em> ruled the Emmy Award nominations Thursday with a leading 23 bids, including best drama, while a real-life epic of murder and celebrity, \u003cem>The People v. O.J. Simpson\u003c/em>, was close behind with 22 nods.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em>, which won a record 12 Emmys last fall including best drama, gets the chance to claim its second top award. \u003cem>Veep\u003c/em>, last year’s best comedy series winner, also will get another shot at holding office and, with 17 nominations, was the comedy leader.\u003c/p>\n\u003cp>Breakthrough nominations include a best comedy series nod for sophomore \u003cem>black-ish\u003c/em>, which brought the African-American family sitcom back to network TV, with bids as well for its stars, Anthony Anderson — who helped announce the awards live on Thursday and read his show’s name with glee — and his co-star Tracee Ellis Ross.\u003c/p>\n\u003cp>“I’m on cloud nine right now,” Anderson said afterward. “When hope becomes reality, that’s what it is. I was just a 9-year-old kid growing up in Compton, California, with a dream and this is the dream that I had.”\u003c/p>\n\u003cp>They were among a number of black actors recognized by TV academy voters, who have started to keep pace with TV’s growing diversity — in sharp contrast to moviedom’s Academy Awards, which were slammed as “Oscars So White” this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viola Davis, the \u003cem>How to Get Away with Murder\u003c/em> star who last year became the first woman of color to win a best drama actress trophy, was nominated again. So was \u003cem>Empire\u003c/em> star Taraji P. Henson.\u003c/p>\n\u003cp>Each of the major acting categories included at least one minority nominee. But there were no major nods for the stars of \u003cem>Fresh Off the Boat\u003c/em> or other Asian-American actors, or for Latinos, which has been a recurrent Emmy pattern.\u003c/p>\n\u003cp>Networks have reason for concern as well. In the increasingly crowded TV universe, traditional broadcasts again lost Emmy ground to emerging platforms, including streaming services Netflix and Amazon, both of which boosted their tallies. Even HBO, which again earned the most bids led by “Game of Thrones,” marked a retreat in what had been its ever-growing dominance: its haul dropped from 126 nods last year to 94 this time.\u003cbr>\n\u003cem>\u003cbr>\nGame of Thrones\u003c/em> and \u003cem>Mr. Robot\u003c/em> will compete with \u003cem>Better Call Saul\u003c/em>, \u003cem>Homeland\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>The Americans\u003c/em> and \u003cem>Downton Abbey\u003c/em>, the last a nod for its farewell season. But the final season of \u003cem>The Good Wife\u003c/em> was not recognized, and star Julianna Margulies also was snubbed.\u003c/p>\n\u003cp>For Stephen Colbert, it was the inaugural season of his CBS late-night show that was overlooked, while network colleague James Corden earned a best variety talk series bid for his “Late Late Show.”\u003c/p>\n\u003cp>Aziz Ansari received a lead comedy acting bid for his series \u003cem>Master of None\u003c/em>, a first for an Indian-American actor, and the show received a best comedy series nomination. Rami Malek, of Egyptian descent, earned a top drama acting nod for his role as a renegade hacker in another freshman, \u003cem>Mr. Robot\u003c/em>, which also will compete for drama honors.\u003c/p>\n\u003cp>\u003cem>The Americans\u003c/em>, which gained in attention last season, also earned bids for its stars, Keri Russell and Matthew Rhys.\u003c/p>\n\u003cp>Besides Russell, Davis and Henson, lead drama actress bids went to Claire Danes for \u003cem>Homeland \u003c/em>and Tatiana Maslany for \u003cem>Orphan Black\u003c/em>.\u003c/p>\n\u003cp>Malek and Rhys will be competing with Kevin Spacey for \u003cem>House of Cards\u003c/em>, Kyle Chandler for \u003cem>Bloodline\u003c/em>, Bob Odenkirk for \u003cem>Better Call Saul\u003c/em> and Liev Schreiber for \u003cem>Ray Donovan\u003c/em>.\u003c/p>\n\u003cp>The ensemble cast of \u003cem>Game of Thrones\u003c/em> found leading bids elusive. Peter Dinklage, named last year’s best supporting actor, will defend his title, with a nod also going to Kit Harington, who plays fan favorite Jon Snow. Emilia Clarke, Lena Headey and Maisie Williams earned supporting actress bids in a year that the show’s female characters gained the upper hand.\u003c/p>\n\u003cp>On the comedy side, \u003cem>Veep\u003c/em>, \u003cem>black-ish\u003c/em> and \u003cem>Master of None\u003c/em> will tussle for the trophy with five-time champ \u003cem>Modern Family\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>Silicon Valley\u003c/em> and \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>A top acting nod for \u003cem>Veep\u003c/em> star Julia Louis-Dreyfus, who plays a U.S. vice president now elevated to the Oval Office, gives her the chance to score her fifth consecutive win and set a record.\u003c/p>\n\u003cp>She and Ross will be competing with Ellie Kemper in \u003cem>Unbreakable Kimmy Schmidt\u003c/em>, Laurie Metcalf in \u003cem>Getting On\u003c/em>, Amy Schumer in \u003cem>Inside Amy Schumer\u003c/em> and Lily Tomlin in \u003cem>Grace and Frankie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Black-ish\u003c/em> star Anderson, who got his second nod, will be competing with last year’s winner, Jeffrey Tambor of \u003cem>Transparent\u003c/em>, along with Ansari, Will Forte for \u003cem>The Last Man on Earth\u003c/em>, William H. Macy for \u003cem>Shameless\u003c/em> and Thomas Middleditch for \u003cem>Silicon Valley\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>, which recounted the football legend’s sensational, racially charged trial for the slayings of his ex-wife, Nicole Brown Simpson, and her friend, Ron Goldman, is a best limited series nominee and earned a number of acting awards for its cast’s portrayal of well-known figures.\u003c/p>\n\u003cp>Lead nominations went to Cuba Gooding Jr. as Simpson, Courtney B. Vance as defense attorney Johnnie Cochran and Sarah Paulson as prosecutor Marcia Clark. Supporting bids were given to Sterling K. Brown as prosecutor Christopher Darden, David Schwimmer as Simpson friend Robert Kardashian — patriarch of the now-famous family — and John Travolta as defense attorney Robert Shapiro.\u003c/p>\n\u003cp>Gooding and Vance will compete with Bryan Cranston as President Lyndon B. Johnson in \u003cem>All The Way\u003c/em>, Benedict Cumberbatch in \u003cem>Sherlock: The Abominable Bride (Masterpiece)\u003c/em>, Idris Elba in \u003cem>Luther\u003c/em> and Tom Hiddleston in \u003cem>The Night Manager\u003c/em>.\u003c/p>\n\u003cp>In a phone interview, Paulson said that despite joy over her recognition she was happiest to learn that Brown was nominated for his portrayal of Darden.\u003c/p>\n\u003cp>“I jumped up and down …. more about that than about my own,” Paulson said. “I owe my performance whatever it is to him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 68th prime-time Emmy show will be broadcast live on ABC from 8-11 p.m. EDT on Sept. 18, hosted by Jimmy Kimmel.\u003c/p>\n\n",
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"excerpt": "Power-and-blood fantasy saga \"Game of Thrones\" ruled the Emmy Award nominations Thursday with a leading 23 bids",
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"title": "'Game of Thrones' Earns a Leading 23 Emmy Award Nominations | KQED",
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"headline": "'Game of Thrones' Earns a Leading 23 Emmy Award Nominations",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Power-and-blood fantasy saga \u003cem>Game of Thrones\u003c/em> ruled the Emmy Award nominations Thursday with a leading 23 bids, including best drama, while a real-life epic of murder and celebrity, \u003cem>The People v. O.J. Simpson\u003c/em>, was close behind with 22 nods.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em>, which won a record 12 Emmys last fall including best drama, gets the chance to claim its second top award. \u003cem>Veep\u003c/em>, last year’s best comedy series winner, also will get another shot at holding office and, with 17 nominations, was the comedy leader.\u003c/p>\n\u003cp>Breakthrough nominations include a best comedy series nod for sophomore \u003cem>black-ish\u003c/em>, which brought the African-American family sitcom back to network TV, with bids as well for its stars, Anthony Anderson — who helped announce the awards live on Thursday and read his show’s name with glee — and his co-star Tracee Ellis Ross.\u003c/p>\n\u003cp>“I’m on cloud nine right now,” Anderson said afterward. “When hope becomes reality, that’s what it is. I was just a 9-year-old kid growing up in Compton, California, with a dream and this is the dream that I had.”\u003c/p>\n\u003cp>They were among a number of black actors recognized by TV academy voters, who have started to keep pace with TV’s growing diversity — in sharp contrast to moviedom’s Academy Awards, which were slammed as “Oscars So White” this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viola Davis, the \u003cem>How to Get Away with Murder\u003c/em> star who last year became the first woman of color to win a best drama actress trophy, was nominated again. So was \u003cem>Empire\u003c/em> star Taraji P. Henson.\u003c/p>\n\u003cp>Each of the major acting categories included at least one minority nominee. But there were no major nods for the stars of \u003cem>Fresh Off the Boat\u003c/em> or other Asian-American actors, or for Latinos, which has been a recurrent Emmy pattern.\u003c/p>\n\u003cp>Networks have reason for concern as well. In the increasingly crowded TV universe, traditional broadcasts again lost Emmy ground to emerging platforms, including streaming services Netflix and Amazon, both of which boosted their tallies. Even HBO, which again earned the most bids led by “Game of Thrones,” marked a retreat in what had been its ever-growing dominance: its haul dropped from 126 nods last year to 94 this time.\u003cbr>\n\u003cem>\u003cbr>\nGame of Thrones\u003c/em> and \u003cem>Mr. Robot\u003c/em> will compete with \u003cem>Better Call Saul\u003c/em>, \u003cem>Homeland\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>The Americans\u003c/em> and \u003cem>Downton Abbey\u003c/em>, the last a nod for its farewell season. But the final season of \u003cem>The Good Wife\u003c/em> was not recognized, and star Julianna Margulies also was snubbed.\u003c/p>\n\u003cp>For Stephen Colbert, it was the inaugural season of his CBS late-night show that was overlooked, while network colleague James Corden earned a best variety talk series bid for his “Late Late Show.”\u003c/p>\n\u003cp>Aziz Ansari received a lead comedy acting bid for his series \u003cem>Master of None\u003c/em>, a first for an Indian-American actor, and the show received a best comedy series nomination. Rami Malek, of Egyptian descent, earned a top drama acting nod for his role as a renegade hacker in another freshman, \u003cem>Mr. Robot\u003c/em>, which also will compete for drama honors.\u003c/p>\n\u003cp>\u003cem>The Americans\u003c/em>, which gained in attention last season, also earned bids for its stars, Keri Russell and Matthew Rhys.\u003c/p>\n\u003cp>Besides Russell, Davis and Henson, lead drama actress bids went to Claire Danes for \u003cem>Homeland \u003c/em>and Tatiana Maslany for \u003cem>Orphan Black\u003c/em>.\u003c/p>\n\u003cp>Malek and Rhys will be competing with Kevin Spacey for \u003cem>House of Cards\u003c/em>, Kyle Chandler for \u003cem>Bloodline\u003c/em>, Bob Odenkirk for \u003cem>Better Call Saul\u003c/em> and Liev Schreiber for \u003cem>Ray Donovan\u003c/em>.\u003c/p>\n\u003cp>The ensemble cast of \u003cem>Game of Thrones\u003c/em> found leading bids elusive. Peter Dinklage, named last year’s best supporting actor, will defend his title, with a nod also going to Kit Harington, who plays fan favorite Jon Snow. Emilia Clarke, Lena Headey and Maisie Williams earned supporting actress bids in a year that the show’s female characters gained the upper hand.\u003c/p>\n\u003cp>On the comedy side, \u003cem>Veep\u003c/em>, \u003cem>black-ish\u003c/em> and \u003cem>Master of None\u003c/em> will tussle for the trophy with five-time champ \u003cem>Modern Family\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>Silicon Valley\u003c/em> and \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>A top acting nod for \u003cem>Veep\u003c/em> star Julia Louis-Dreyfus, who plays a U.S. vice president now elevated to the Oval Office, gives her the chance to score her fifth consecutive win and set a record.\u003c/p>\n\u003cp>She and Ross will be competing with Ellie Kemper in \u003cem>Unbreakable Kimmy Schmidt\u003c/em>, Laurie Metcalf in \u003cem>Getting On\u003c/em>, Amy Schumer in \u003cem>Inside Amy Schumer\u003c/em> and Lily Tomlin in \u003cem>Grace and Frankie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Black-ish\u003c/em> star Anderson, who got his second nod, will be competing with last year’s winner, Jeffrey Tambor of \u003cem>Transparent\u003c/em>, along with Ansari, Will Forte for \u003cem>The Last Man on Earth\u003c/em>, William H. Macy for \u003cem>Shameless\u003c/em> and Thomas Middleditch for \u003cem>Silicon Valley\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>, which recounted the football legend’s sensational, racially charged trial for the slayings of his ex-wife, Nicole Brown Simpson, and her friend, Ron Goldman, is a best limited series nominee and earned a number of acting awards for its cast’s portrayal of well-known figures.\u003c/p>\n\u003cp>Lead nominations went to Cuba Gooding Jr. as Simpson, Courtney B. Vance as defense attorney Johnnie Cochran and Sarah Paulson as prosecutor Marcia Clark. Supporting bids were given to Sterling K. Brown as prosecutor Christopher Darden, David Schwimmer as Simpson friend Robert Kardashian — patriarch of the now-famous family — and John Travolta as defense attorney Robert Shapiro.\u003c/p>\n\u003cp>Gooding and Vance will compete with Bryan Cranston as President Lyndon B. Johnson in \u003cem>All The Way\u003c/em>, Benedict Cumberbatch in \u003cem>Sherlock: The Abominable Bride (Masterpiece)\u003c/em>, Idris Elba in \u003cem>Luther\u003c/em> and Tom Hiddleston in \u003cem>The Night Manager\u003c/em>.\u003c/p>\n\u003cp>In a phone interview, Paulson said that despite joy over her recognition she was happiest to learn that Brown was nominated for his portrayal of Darden.\u003c/p>\n\u003cp>“I jumped up and down …. more about that than about my own,” Paulson said. “I owe my performance whatever it is to him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 68th prime-time Emmy show will be broadcast live on ABC from 8-11 p.m. EDT on Sept. 18, hosted by Jimmy Kimmel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "solitary-confinement-play-the-box-thinks-outside-the-box-for-a-bit",
"title": "Solitary Confinement Play 'The Box' Thinks Outside the Box...For a Bit",
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"headTitle": "Solitary Confinement Play ‘The Box’ Thinks Outside the Box…For a Bit | KQED",
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"content": "\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two new Tony Award-winners from \u003cem>Hamilton\u003c/em> — Daveed Diggs and Renée Elise Goldsberry — will soon leave the Broadway company, while producers unveiled the new cast of the show’s upcoming Chicago production.\u003c/p>\n\u003cp>Diggs, who plays both the Marquis de Lafayette and Thomas Jefferson, will leave the Broadway show July 15, while Goldsberry, who plays Angelica Schuyler, will leave sometime this fall, her publicist confirmed. The duo will be joining the recently departed creator Lin-Manuel Miranda , Leslie Odom Jr. and Phillipa Soo out the \u003cem>Hamilton\u003c/em> door.\u003c/p>\n\u003cp>Meanwhile, Broadway veterans Miguel Cervantes, Karen Olivo and Alexander Gemignani were unveiled Wednesday as the next leaders of the cast in Chicago.\u003c/p>\n\u003cp>Cervantes, whose Broadway credits include \u003cem>If/Then\u003c/em> and \u003cem>American Idiot\u003c/em>, will play Alexander Hamilton this fall when the Chicago production opens. Olivo, who won a Tony playing of Anita in the 2009 Broadway revival of \u003cem>West Side Story\u003c/em>, will portray Angelica Schuyler. Gemignani, who has been in \u003cem>Violet\u003c/em>, Les Miserables” and “Sweeny Todd,” will play King George III in the Chicago production.\u003c/p>\n\u003cp>The rest of the cast there will include Ari Afsar as Eliza Hamilton, Chris Lee as Lafayette/Jefferson, Wallace Smith as Hercules Mulligan and James Madison, and Samantha Marie Ware as Peggy Schuyler and Maria Reynolds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, which won 11 Tony Awards last month, has been praised by politicians and rap stars, influenced the debate over the nation’s currency and burst through the Broadway bubble like none other. On Tuesday, the show held a fundraiser for presumptive Democratic presidential nominee Hillary Clinton, with donors paying between $2,700 and $10,000 for a seat, and event chairs contributing $100,000 for a two-seat package and a wrap party.\u003c/p>\n\u003cp>In addition to the Chicago production, a touring production begins a 21-week run in San Francisco in 2017 before moving to Los Angeles. A London production is slated for 2017.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two new Tony Award-winners from \u003cem>Hamilton\u003c/em> — Daveed Diggs and Renée Elise Goldsberry — will soon leave the Broadway company, while producers unveiled the new cast of the show’s upcoming Chicago production.\u003c/p>\n\u003cp>Diggs, who plays both the Marquis de Lafayette and Thomas Jefferson, will leave the Broadway show July 15, while Goldsberry, who plays Angelica Schuyler, will leave sometime this fall, her publicist confirmed. The duo will be joining the recently departed creator Lin-Manuel Miranda , Leslie Odom Jr. and Phillipa Soo out the \u003cem>Hamilton\u003c/em> door.\u003c/p>\n\u003cp>Meanwhile, Broadway veterans Miguel Cervantes, Karen Olivo and Alexander Gemignani were unveiled Wednesday as the next leaders of the cast in Chicago.\u003c/p>\n\u003cp>Cervantes, whose Broadway credits include \u003cem>If/Then\u003c/em> and \u003cem>American Idiot\u003c/em>, will play Alexander Hamilton this fall when the Chicago production opens. Olivo, who won a Tony playing of Anita in the 2009 Broadway revival of \u003cem>West Side Story\u003c/em>, will portray Angelica Schuyler. Gemignani, who has been in \u003cem>Violet\u003c/em>, Les Miserables” and “Sweeny Todd,” will play King George III in the Chicago production.\u003c/p>\n\u003cp>The rest of the cast there will include Ari Afsar as Eliza Hamilton, Chris Lee as Lafayette/Jefferson, Wallace Smith as Hercules Mulligan and James Madison, and Samantha Marie Ware as Peggy Schuyler and Maria Reynolds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, which won 11 Tony Awards last month, has been praised by politicians and rap stars, influenced the debate over the nation’s currency and burst through the Broadway bubble like none other. On Tuesday, the show held a fundraiser for presumptive Democratic presidential nominee Hillary Clinton, with donors paying between $2,700 and $10,000 for a seat, and event chairs contributing $100,000 for a two-seat package and a wrap party.\u003c/p>\n\u003cp>In addition to the Chicago production, a touring production begins a 21-week run in San Francisco in 2017 before moving to Los Angeles. A London production is slated for 2017.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the days since last week's horrific violence, we've seen \u003ca href=\"https://ww2.kqed.org/pop/2016/07/08/snoop-dogg-just-held-a-press-conference-with-the-lapd-and-other-musician-responses-to-a-truly-awful-week/\" target=\"_blank\">many celebrities speak out\u003c/a> to express anger, solidarity, or prayers for peace.\u003c/p>\n\u003cp>Now, a who's-who of A-listers have come together for a video in partnership with Mic.com, titled \"23 Ways You Could Be Killed If You Are Black in America.\" In it, Beyoncé, Pink, Chris Rock, Janelle Monae, Rihanna, and other stars solemnly read off the commonplace activities in which black victims of police violence were partaking when they were shot -- followed by a photo of the victim and their name. Oakland's own Oscar Grant III, in case you've forgotten, was simply \"taking a commuter train.\" The sheer volume of names and smiling faces, paired with activities like \"laughing,\" is nothing short of chilling by the video's end.\u003c/p>\n\u003cp>The list ends with a plea from Keys to make your voice heard to President Obama and Congress by clicking over to the website of Keys' nonprofit, \u003ca href=\"http://weareheremovement.com/\" target=\"_blank\">weareheremovement.com\u003c/a>.\u003c/p>\n\u003cp>Watch the video below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U_VaNhI4CLo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>Jennifer Aniston is one of those celebrities who provokes endless speculation not because of her outlandish debutante-like behavior, but because of her seeming normality: She's drop-dead gorgeous and fabulously wealthy, yes, but she's also something of a permanent girl next door. She got famous on one of America's most beloved sitcoms, for starters. And then there's her role in the celebrity love triangle that rocked the mid-aughts -- she the jilted good girl to Angelina Jolie's edgy, black swan temptress.\u003c/p>\n\u003cp>This is all, of course, utter bullsh*t perpetrated mostly by tabloids' bottom lines. It does, however, provide some context for why the media has been fixated since time immemorial on whether or not Jennifer Aniston\u003ca href=\"http://www.intouchweekly.com/posts/jennifer-aniston-pregnant-105227\" target=\"_blank\"> is pregnant\u003c/a>, thinking about becoming pregnant, \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2313617/Jennifer-Aniston-relying-cupping-boost-fertility.html\" target=\"_blank\">sad that she is not pregnant\u003c/a>, or some variation thereof. It's your nagging Aunt Gertie reminding you over the phone from Florida that you're not getting any younger, you know -- only on a world stage. Seems fun!\u003c/p>\n\u003cp>https://twitter.com/KateHarding/status/743152115770597379\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Well, she's apparently had enough. \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">Aniston just penned an open letter in the \u003c/a>\u003cem>Huffington Post\u003c/em> decrying the media's objectification of women, alongside journalists' fixation on her childfree existence and when it will end.\u003c/p>\n\u003cblockquote>\u003cp>If I am some kind of symbol to some people out there, then clearly I am an example of the lens through which we, as a society, view our mothers, daughters, sisters, wives, female friends and colleagues. The objectification and scrutiny we put women through is absurd and disturbing. The way I am portrayed by the media is simply a reflection of how we see and portray women in general, measured against some warped standard of beauty. ...\u003c/p>\n\u003cp>The message that girls are not pretty unless they’re incredibly thin, that they’re not worthy of our attention unless they look like a supermodel or an actress on the cover of a magazine is something we’re all willingly buying into. This conditioning is something girls then carry into womanhood. We use celebrity “news” to perpetuate this dehumanizing view of females, focused solely on one’s physical appearance, which tabloids turn into a sporting event of speculation. Is she pregnant? Is she eating too much? Has she let herself go? Is her marriage on the rocks because the camera detects some physical “imperfection”?\u003c/p>\u003c/blockquote>\n\u003cp>And:\u003c/p>\n\u003cblockquote>\u003cp>I have grown tired of being part of this narrative. Yes, I may become a mother some day, and since I’m laying it all out there, if I ever do, I will be the first to let you know. But I’m not in pursuit of motherhood because I feel incomplete in some way, as our celebrity news culture would lead us all to believe. I resent being made to feel “less than” because my body is changing and/or I had a burger for lunch and was photographed from a weird angle and therefore deemed one of two things: “pregnant” or “fat.”\u003c/p>\u003c/blockquote>\n\u003cp>If you've ever spent five minutes reading an \u003cem>Us Weekly\u003c/em> \"article\" featuring photos of Aniston or another celebrity with circles drawn over their body parts, take five minutes and \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">read the whole thing here.\u003c/a> All in all, it's a compelling yet (sorry) highly relatable message for Aniston to send.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Truth be told, the only thing I find to be slightly off the mark in this piece is the implication that she ever eats burgers for lunch. Sorry, Jen. Otherwise: Go on with your bad (gorgeous, 47-year-old) self. I'm not holding my breath, but Aunt Gertie really should find a better hobby.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jennifer Aniston is one of those celebrities who provokes endless speculation not because of her outlandish debutante-like behavior, but because of her seeming normality: She's drop-dead gorgeous and fabulously wealthy, yes, but she's also something of a permanent girl next door. She got famous on one of America's most beloved sitcoms, for starters. And then there's her role in the celebrity love triangle that rocked the mid-aughts -- she the jilted good girl to Angelina Jolie's edgy, black swan temptress.\u003c/p>\n\u003cp>This is all, of course, utter bullsh*t perpetrated mostly by tabloids' bottom lines. It does, however, provide some context for why the media has been fixated since time immemorial on whether or not Jennifer Aniston\u003ca href=\"http://www.intouchweekly.com/posts/jennifer-aniston-pregnant-105227\" target=\"_blank\"> is pregnant\u003c/a>, thinking about becoming pregnant, \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2313617/Jennifer-Aniston-relying-cupping-boost-fertility.html\" target=\"_blank\">sad that she is not pregnant\u003c/a>, or some variation thereof. It's your nagging Aunt Gertie reminding you over the phone from Florida that you're not getting any younger, you know -- only on a world stage. Seems fun!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>Well, she's apparently had enough. \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">Aniston just penned an open letter in the \u003c/a>\u003cem>Huffington Post\u003c/em> decrying the media's objectification of women, alongside journalists' fixation on her childfree existence and when it will end.\u003c/p>\n\u003cblockquote>\u003cp>If I am some kind of symbol to some people out there, then clearly I am an example of the lens through which we, as a society, view our mothers, daughters, sisters, wives, female friends and colleagues. The objectification and scrutiny we put women through is absurd and disturbing. The way I am portrayed by the media is simply a reflection of how we see and portray women in general, measured against some warped standard of beauty. ...\u003c/p>\n\u003cp>The message that girls are not pretty unless they’re incredibly thin, that they’re not worthy of our attention unless they look like a supermodel or an actress on the cover of a magazine is something we’re all willingly buying into. This conditioning is something girls then carry into womanhood. We use celebrity “news” to perpetuate this dehumanizing view of females, focused solely on one’s physical appearance, which tabloids turn into a sporting event of speculation. Is she pregnant? Is she eating too much? Has she let herself go? Is her marriage on the rocks because the camera detects some physical “imperfection”?\u003c/p>\u003c/blockquote>\n\u003cp>And:\u003c/p>\n\u003cblockquote>\u003cp>I have grown tired of being part of this narrative. Yes, I may become a mother some day, and since I’m laying it all out there, if I ever do, I will be the first to let you know. But I’m not in pursuit of motherhood because I feel incomplete in some way, as our celebrity news culture would lead us all to believe. I resent being made to feel “less than” because my body is changing and/or I had a burger for lunch and was photographed from a weird angle and therefore deemed one of two things: “pregnant” or “fat.”\u003c/p>\u003c/blockquote>\n\u003cp>If you've ever spent five minutes reading an \u003cem>Us Weekly\u003c/em> \"article\" featuring photos of Aniston or another celebrity with circles drawn over their body parts, take five minutes and \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">read the whole thing here.\u003c/a> All in all, it's a compelling yet (sorry) highly relatable message for Aniston to send.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Truth be told, the only thing I find to be slightly off the mark in this piece is the implication that she ever eats burgers for lunch. Sorry, Jen. Otherwise: Go on with your bad (gorgeous, 47-year-old) self. I'm not holding my breath, but Aunt Gertie really should find a better hobby.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AR3hY9iB5-I\u003c/p>\n\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Researchers fed a program 600 hours of videos and TV shows to see if it could learn about and predict human interactions — hugs, kisses, high-fives and handshakes. It was right nearly half the time.",
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"title": "A Computer Binge-Watched TV and Learned to Predict What Happens Next | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AR3hY9iB5-I'\n title='//www.youtube.com/embed/AR3hY9iB5-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Are Ships Buried Under San Francisco?",
"headTitle": "Why Are Ships Buried Under San Francisco? | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that’s all about answering \u003cem>your\u003c/em> questions about the Bay Area. Find us on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n the heart of San Francisco’s Financial District, you can grab a drink at the Old Ship Saloon. Owner Bill Duffy says the bar opened in 1851 inside the hull of the Arkansas, a ship that now lies in the dirt below the bar.\u003c/p>\n\u003cp>“People who wanted to go to the bar would have to get up this plank and in through the side of the ship,” says Duffy.\u003c/p>\n\u003cp>The Arkansas is one of 30 to 60 ships buried under the city. Some are marked with above-ground plaques, but many go completely unrecognized — a ghost fleet beneath your feet. Which brings us to the question:\u003c/p>\n\u003ch2>Why are there ships under San Francisco?\u003c/h2>\n\u003cp>Most of the buried ships lie under the Financial District and the Embarcadero — two of the city’s flattest neighborhoods. In a city known for its hills, you’d hardly know it taking a walk from the Embarcadero and the Transamerica Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291570006″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“You can find the original shoreline by using your feet,” says Kevin Boyd, senior science writer at the Exploratorium, where an exhibit called “The Changing Shoreline of San Francisco” is currently on display. “As soon as you find yourself heading uphill at any significant degree, you can be pretty sure you’re close to the early shoreline.”\u003c/p>\n\u003cp>But why did the shoreline change? And how did the ships get buried there?\u003c/p>\n\u003cfigure id=\"attachment_10982521\" class=\"wp-caption aligncenter\" style=\"max-width: 3888px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982521 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg\" alt=\"The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\" width=\"3888\" height=\"2592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg 3888w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-960x640.jpg 960w\" sizes=\"(max-width: 3888px) 100vw, 3888px\">\u003cfigcaption class=\"wp-caption-text\">The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco in 1848 was a small town of a few hundred. But the discovery of gold that year had a pretty big impact. The small town became a city,” says James Delgado, a maritime archaeologist at the National Oceanic and Atmospheric Administration and author of “\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520255807\">Gold Rush Port.\u003c/a>”\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>After gold was discovered, ships pregnant with people and goods poured into the Bay Area. They dropped anchor in the deeper waters offshore, somewhere below today’s Bay Bridge.\u003c/p>\n\u003cp>Once moored, many of the ships never set sail again. Some vessels had arrived to the Gold Coast in a decrepit state, the owners knowingly sending the ships to the bay on their last voyage. Other ships simply had trouble leaving once sailors caught gold fever.\u003c/p>\n\u003cfigure id=\"attachment_10982724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Clipper-California-800x500.jpg\" alt=\"An advertisement for a line of ships bringing passengers to the Gold Rush.\" width=\"800\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-800x500.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1920x1200.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1180x738.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An advertisement for a line of ships bringing passengers to the Gold Rush.\u003c/figcaption>\u003c/figure>\n\u003cp>“There were large numbers of desertions, in some cases even officers,” says Delgado.\u003c/p>\n\u003cp>The harbor became clogged as the number of ships climbed near 1,000. As the mass grew, the ships became a greater nuisance. Many of the ships had to have their rigging taken down in order to avoid entanglement with neighboring vessels. Contemporary observers often referred to it as a “forest of masts.”\u003c/p>\n\u003cp>Because the ships were stationed offshore in deep water, goods had to be slogged across half a mile of the shallow, muddy tidal flats. Merchants had to pay workers handsomely to forget about their gold fever and accept the job of a porter.\u003c/p>\n\u003cfigure id=\"attachment_10981646\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10981646 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg\" alt=\"The waterfront in 1851 (San Francisco Maritime Museum National Historical Park)\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waterfront in 1851. (Courtesy of the San Francisco Maritime Museum National Historical Park)\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, politicians devised a solution to lessen these hefty expenses: bring the shoreline closer to deep water. The city began selling water lots out in the Bay on the condition that buyers fill them in with land.\u003c/p>\n\u003cp>“In order to secure the title, you would put real property on it,” says Delgado. “You could drive pilings and build a fence around it. But the easiest, cheapest way was to do that with a ship.”\u003c/p>\n\u003cp>Land in Gold Rush-era San Francisco was incredibly valuable and people tried to secure these water lots any way they could.\u003c/p>\n\u003cp>“If you scuttled your ship, you could claim the land under it as part of your salvage,” says Richard Everett, curator of the San Francisco Maritime National Historic Park.\u003c/p>\n\u003cfigure id=\"attachment_10991294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10991294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg\" alt=\"A map of the buried ships under San Francisco.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the buried ships under San Francisco. \u003ccite>(San Francisco Maritime National Historic Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some men used this technicality to lay claim to other people’s lots. They were known as the “hulk undertakers.”\u003c/p>\n\u003cp>In the dead of night, they would sail ships over valuable lots, unplug holes drilled into the ship’s keel and \u003cem>conveniently\u003c/em> lose the vessel on the spot.\u003c/p>\n\u003cp>“There were actual open wars. One day the captain of the hulk undertakers was in the midst of giving a command when a wharf employee fired a shot at him. His mouth was open, he was yelling, and the bullet passed through one cheek and out the other, missing his tongue and his teeth. To the end of his days he wore a beard to cover those two scars on either side of his mouth,” says Delgado.\u003c/p>\n\u003cp>Besides land, San Francisco also needed buildings. Because the city grew so rapidly and lumber was expensive to mill, many of the early buildings were constructed of canvas tents. One visitor described San Francisco as a magic lantern city at night, because the tents covering the hillsides would glow from within. While this may have been picturesque, the residents wanted more permanent structures, so they turned to the ships in the harbor.\u003c/p>\n\u003cp>The junker ships were taken to “Rotten Row,” where Charles Hare and the local Chinese community systematically broke down hundreds of ships. The wood and metal were recycled into building materials.\u003c/p>\n\u003cp>About 200 of the nicer ships were easily turned into permanent structures. The majority were used as warehouses but other ships became hotels, offices, bars, counting houses, restaurants, auction halls, banks, cafes and a church. Even the city jail moved onto a ship once the old one became overcrowded and worn.\u003c/p>\n\u003cfigure id=\"attachment_10991250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10991250 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg\" alt=\"An illustration of early San Francisco where old ships were converted into buildings.\" width=\"800\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of early San Francisco, where old ships were converted into buildings. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the prisoners actually was said to have taken the door off its hinges and carried it on his back to make a show and to demand that the jailer feed him because the jailer had skipped a meal,” says Delgado.\u003c/p>\n\u003cp>As lots of water was filled and the city expanded into the Bay, many of the floating buildings found themselves surrounded by land, sitting along city streets.\u003c/p>\n\u003cp>But then there were a series of fires. The biggest blaze ripped through the city on May 4, 1851. It took out about 20 city blocks and destroyed more than a thousand buildings.\u003c/p>\n\u003cp>“That was the giant fire that took out most of the waterfront. Many of the ships burned down to their water lines,” says Everett.\u003c/p>\n\u003cfigure id=\"attachment_10982523\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982523 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg\" alt=\"A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the De Young Legion of Honor)\" width=\"796\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg 796w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865-400x282.jpg 400w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the Fine Arts Museums of San Francisco’s Permanent Collection )\u003c/figcaption>\u003c/figure>\n\u003cp>Dozens of ships stayed behind, and remain firmly anchored in what today is the Financial District or Embarcadero.\u003c/p>\n\u003cp>The city forgot about the ships. One by one, they’ve been built over. Nowadays, we barely think about the hulks lying just under our feet.\u003c/p>\n\u003cp>That is, until we have to lay a new foundation or dig a fresh tunnel.\u003c/p>\n\u003cp>In 1994, Muni was digging a light-rail tunnel beneath Justin Herman Plaza on the Embarcadero when workers hit a ship — the Rome. The vessel was so huge they literally had to tunnel through. Now, thousands of riders on J, K, L, M, N and T trains unknowingly ride through its hull every day.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want the Bay Curious team to investigate? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that’s all about answering \u003cem>your\u003c/em> questions about the Bay Area. Find us on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the heart of San Francisco’s Financial District, you can grab a drink at the Old Ship Saloon. Owner Bill Duffy says the bar opened in 1851 inside the hull of the Arkansas, a ship that now lies in the dirt below the bar.\u003c/p>\n\u003cp>“People who wanted to go to the bar would have to get up this plank and in through the side of the ship,” says Duffy.\u003c/p>\n\u003cp>The Arkansas is one of 30 to 60 ships buried under the city. Some are marked with above-ground plaques, but many go completely unrecognized — a ghost fleet beneath your feet. Which brings us to the question:\u003c/p>\n\u003ch2>Why are there ships under San Francisco?\u003c/h2>\n\u003cp>Most of the buried ships lie under the Financial District and the Embarcadero — two of the city’s flattest neighborhoods. In a city known for its hills, you’d hardly know it taking a walk from the Embarcadero and the Transamerica Building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291570006″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/291570006″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You can find the original shoreline by using your feet,” says Kevin Boyd, senior science writer at the Exploratorium, where an exhibit called “The Changing Shoreline of San Francisco” is currently on display. “As soon as you find yourself heading uphill at any significant degree, you can be pretty sure you’re close to the early shoreline.”\u003c/p>\n\u003cp>But why did the shoreline change? And how did the ships get buried there?\u003c/p>\n\u003cfigure id=\"attachment_10982521\" class=\"wp-caption aligncenter\" style=\"max-width: 3888px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982521 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg\" alt=\"The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\" width=\"3888\" height=\"2592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg 3888w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-960x640.jpg 960w\" sizes=\"(max-width: 3888px) 100vw, 3888px\">\u003cfigcaption class=\"wp-caption-text\">The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco in 1848 was a small town of a few hundred. But the discovery of gold that year had a pretty big impact. The small town became a city,” says James Delgado, a maritime archaeologist at the National Oceanic and Atmospheric Administration and author of “\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520255807\">Gold Rush Port.\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After gold was discovered, ships pregnant with people and goods poured into the Bay Area. They dropped anchor in the deeper waters offshore, somewhere below today’s Bay Bridge.\u003c/p>\n\u003cp>Once moored, many of the ships never set sail again. Some vessels had arrived to the Gold Coast in a decrepit state, the owners knowingly sending the ships to the bay on their last voyage. Other ships simply had trouble leaving once sailors caught gold fever.\u003c/p>\n\u003cfigure id=\"attachment_10982724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Clipper-California-800x500.jpg\" alt=\"An advertisement for a line of ships bringing passengers to the Gold Rush.\" width=\"800\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-800x500.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1920x1200.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1180x738.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An advertisement for a line of ships bringing passengers to the Gold Rush.\u003c/figcaption>\u003c/figure>\n\u003cp>“There were large numbers of desertions, in some cases even officers,” says Delgado.\u003c/p>\n\u003cp>The harbor became clogged as the number of ships climbed near 1,000. As the mass grew, the ships became a greater nuisance. Many of the ships had to have their rigging taken down in order to avoid entanglement with neighboring vessels. Contemporary observers often referred to it as a “forest of masts.”\u003c/p>\n\u003cp>Because the ships were stationed offshore in deep water, goods had to be slogged across half a mile of the shallow, muddy tidal flats. Merchants had to pay workers handsomely to forget about their gold fever and accept the job of a porter.\u003c/p>\n\u003cfigure id=\"attachment_10981646\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10981646 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg\" alt=\"The waterfront in 1851 (San Francisco Maritime Museum National Historical Park)\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waterfront in 1851. (Courtesy of the San Francisco Maritime Museum National Historical Park)\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, politicians devised a solution to lessen these hefty expenses: bring the shoreline closer to deep water. The city began selling water lots out in the Bay on the condition that buyers fill them in with land.\u003c/p>\n\u003cp>“In order to secure the title, you would put real property on it,” says Delgado. “You could drive pilings and build a fence around it. But the easiest, cheapest way was to do that with a ship.”\u003c/p>\n\u003cp>Land in Gold Rush-era San Francisco was incredibly valuable and people tried to secure these water lots any way they could.\u003c/p>\n\u003cp>“If you scuttled your ship, you could claim the land under it as part of your salvage,” says Richard Everett, curator of the San Francisco Maritime National Historic Park.\u003c/p>\n\u003cfigure id=\"attachment_10991294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10991294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg\" alt=\"A map of the buried ships under San Francisco.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the buried ships under San Francisco. \u003ccite>(San Francisco Maritime National Historic Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some men used this technicality to lay claim to other people’s lots. They were known as the “hulk undertakers.”\u003c/p>\n\u003cp>In the dead of night, they would sail ships over valuable lots, unplug holes drilled into the ship’s keel and \u003cem>conveniently\u003c/em> lose the vessel on the spot.\u003c/p>\n\u003cp>“There were actual open wars. One day the captain of the hulk undertakers was in the midst of giving a command when a wharf employee fired a shot at him. His mouth was open, he was yelling, and the bullet passed through one cheek and out the other, missing his tongue and his teeth. To the end of his days he wore a beard to cover those two scars on either side of his mouth,” says Delgado.\u003c/p>\n\u003cp>Besides land, San Francisco also needed buildings. Because the city grew so rapidly and lumber was expensive to mill, many of the early buildings were constructed of canvas tents. One visitor described San Francisco as a magic lantern city at night, because the tents covering the hillsides would glow from within. While this may have been picturesque, the residents wanted more permanent structures, so they turned to the ships in the harbor.\u003c/p>\n\u003cp>The junker ships were taken to “Rotten Row,” where Charles Hare and the local Chinese community systematically broke down hundreds of ships. The wood and metal were recycled into building materials.\u003c/p>\n\u003cp>About 200 of the nicer ships were easily turned into permanent structures. The majority were used as warehouses but other ships became hotels, offices, bars, counting houses, restaurants, auction halls, banks, cafes and a church. Even the city jail moved onto a ship once the old one became overcrowded and worn.\u003c/p>\n\u003cfigure id=\"attachment_10991250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10991250 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg\" alt=\"An illustration of early San Francisco where old ships were converted into buildings.\" width=\"800\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of early San Francisco, where old ships were converted into buildings. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the prisoners actually was said to have taken the door off its hinges and carried it on his back to make a show and to demand that the jailer feed him because the jailer had skipped a meal,” says Delgado.\u003c/p>\n\u003cp>As lots of water was filled and the city expanded into the Bay, many of the floating buildings found themselves surrounded by land, sitting along city streets.\u003c/p>\n\u003cp>But then there were a series of fires. The biggest blaze ripped through the city on May 4, 1851. It took out about 20 city blocks and destroyed more than a thousand buildings.\u003c/p>\n\u003cp>“That was the giant fire that took out most of the waterfront. Many of the ships burned down to their water lines,” says Everett.\u003c/p>\n\u003cfigure id=\"attachment_10982523\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982523 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg\" alt=\"A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the De Young Legion of Honor)\" width=\"796\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg 796w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865-400x282.jpg 400w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the Fine Arts Museums of San Francisco’s Permanent Collection )\u003c/figcaption>\u003c/figure>\n\u003cp>Dozens of ships stayed behind, and remain firmly anchored in what today is the Financial District or Embarcadero.\u003c/p>\n\u003cp>The city forgot about the ships. One by one, they’ve been built over. Nowadays, we barely think about the hulks lying just under our feet.\u003c/p>\n\u003cp>That is, until we have to lay a new foundation or dig a fresh tunnel.\u003c/p>\n\u003cp>In 1994, Muni was digging a light-rail tunnel beneath Justin Herman Plaza on the Embarcadero when workers hit a ship — the Rome. The vessel was so huge they literally had to tunnel through. Now, thousands of riders on J, K, L, M, N and T trains unknowingly ride through its hull every day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Representatives from local arts groups and homeless advocacy organizations delivered about 16,000 signatures to the San Francisco Elections Department on Monday. That’s considerably more than the roughly 9,500 signatures needed to qualify a ballot measure that would give the groups a bigger share of the city’s growing hotel tax fund.\u003c/p>\n\u003cp>“We are here as one big beautiful undeniable voice,” said Jon Moscone, chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>, a multi-disciplinary arts organization in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11803559\" class=\"wp-caption aligncenter\" style=\"max-width: 766px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11803559\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/036-766x600.jpg\" alt=\"Martha Ryan Executive Director of the Homeless Prenatal Program and Jon Moscone Chief of Civic Engagement for the Yerba Buena Center for the Arts\" width=\"766\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1920x1503.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-960x752.jpg 960w\" sizes=\"(max-width: 766px) 100vw, 766px\">\u003cfigcaption class=\"wp-caption-text\">Martha Ryan, executive director of the Homeless Prenatal Program and Jon Moscone, chief of civic engagement at the Yerba Buena Center for the Arts brandish pages of signatures \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort is the product of a rare coalition begun two years ago linking arts groups like the San Francisco Opera and the Asian Pacific Islander Cultural Center, with homeless organizations like the SRO United Families Collaborative, and the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a>.\u003c/p>\n\u003cp>“This measure is a statement to SF,” Martha Ryan, executive director of the Homeless Prenatal Program said before a midday rally of about 100 people on the steps of San Francisco City Hall, “We must stop the displacement and the cycle of displacement for both artists and families in the city.”\u003c/p>\n\u003cp>The measure, if it passes in November, would re-allocate a percentage of San Francisco’s hotel tax, now about $400 million, to the purpose set by supervisors in the 1970s: funding for the arts and the homeless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The measure would bump arts funding to about $58 million, and create a new “ending family homelessness fund,” of about $14.4 million.\u003c/p>\n\u003cp>“This is not just about art,” said Asian Pacific Islander Cultural Center executive director Vinay Patel. “This is about our community. This is about diversity. This is about telling the city that we’re here, and we’re staying here, and we’re not going to be pushed out.”\u003c/p>\n\u003cp>The department of elections has 30 days to verify the signatures. Because the proposal is a tax measure, it would need a two-thirds voter majority to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To read more of KQED’s coverage of this story, click \u003ca href=\"http://bettersf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Representatives from local arts groups and homeless advocacy organizations delivered about 16,000 signatures to the San Francisco Elections Department on Monday. That’s considerably more than the roughly 9,500 signatures needed to qualify a ballot measure that would give the groups a bigger share of the city’s growing hotel tax fund.\u003c/p>\n\u003cp>“We are here as one big beautiful undeniable voice,” said Jon Moscone, chief of civic engagement at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>, a multi-disciplinary arts organization in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11803559\" class=\"wp-caption aligncenter\" style=\"max-width: 766px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11803559\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/036-766x600.jpg\" alt=\"Martha Ryan Executive Director of the Homeless Prenatal Program and Jon Moscone Chief of Civic Engagement for the Yerba Buena Center for the Arts\" width=\"766\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-1920x1503.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/036-960x752.jpg 960w\" sizes=\"(max-width: 766px) 100vw, 766px\">\u003cfigcaption class=\"wp-caption-text\">Martha Ryan, executive director of the Homeless Prenatal Program and Jon Moscone, chief of civic engagement at the Yerba Buena Center for the Arts brandish pages of signatures \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort is the product of a rare coalition begun two years ago linking arts groups like the San Francisco Opera and the Asian Pacific Islander Cultural Center, with homeless organizations like the SRO United Families Collaborative, and the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a>.\u003c/p>\n\u003cp>“This measure is a statement to SF,” Martha Ryan, executive director of the Homeless Prenatal Program said before a midday rally of about 100 people on the steps of San Francisco City Hall, “We must stop the displacement and the cycle of displacement for both artists and families in the city.”\u003c/p>\n\u003cp>The measure, if it passes in November, would re-allocate a percentage of San Francisco’s hotel tax, now about $400 million, to the purpose set by supervisors in the 1970s: funding for the arts and the homeless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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