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"content": "\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hidden Gems: The Lost City of Cecil B. DeMille",
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"content": "\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272173719\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/272173719&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/272173719'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This story was originally published in November 2016 as part of The California Report Magazine's \"\u003ca href=\"https://www.kqed.org/news/tag/hidden-gems\">Hidden Gems\u003c/a>\" series. It re-aired on July 3rd, 2020 for a special show called \"Buckle Up: A (Virtual) Road Trip to CA Hidden Gems.\" Note: The indoor rink is closed due to shelter-in-place orders, but the Church of 8 Wheels is holding outdoor skating events — including a socially distanced disco party in San Francisco’s Golden Gate Park, every Friday night.\u003c/em>\u003c/p>\n\u003cp>Daniel Albert climbs a dusty church tower, lifts his arms above his head and grabs hold of a rope that comes from a hole in the ceiling. As he pulls it, the church bell on the other end chimes and resonates across this central San Francisco neighborhood. It’s 7 o’clock on a Friday night.\u003c/p>\n\u003cp>Then the music begins. But instead of hearing hymns, I hear disco. That’s because I’m at the \u003ca href=\"http://www.churchof8wheels.com/\">Church of 8 Wheels\u003c/a>. It’s a roller disco in a 120-year-old former Catholic church, just blocks from San Francisco’s famous Painted Lady rowhouses at Alamo Square. Albert is the operations manager, but he doubles as a rollerblading sensation. If you’ve been to this church, on Fillmore at Fell, you’ll know him as the guy with metallic reflective wings.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272358511\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>In the expansive space, old pews are pushed against the walls and lights reflect off a disco ball and onto the ceiling murals. David G. Miles Jr., known as the “Godfather of Skate,” proselytizes. “I am your roller disco minister,” he says. “I mean, it’s the Church of 8 Wheels, and as the godfather it’s my responsibility to spread rolligion everywhere I go.”\u003c/p>\n\u003cfigure id=\"attachment_11002592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002592\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg\" alt=\"A typical night at the Church of 8 Wheels.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical night at the Church of 8 Wheels. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That's right. \u003cem>Roll\u003c/em>igion.\u003c/p>\n\u003cp>The Church of 8 Wheels is Miles’ brainchild.\u003c/p>\n\u003cp>He moved to San Francisco in 1979. “I started skating in Golden Gate Park on my third or fourth day in San Francisco,” he says. “When I went out there I saw four people go by on roller skates and I was like, ‘Wow! They do that here?! I can do that.’ I went and got a pair of skates.” [ad fullwidth]\u003c/p>\n\u003cp>He met his wife in the park, and later their kids learned to skate just after they learned to walk. Miles organized skate groups on top of the Embarcadero Freeway after the earthquake of 1989, and he even skated from San Francisco to Los Angeles — 14 times.\u003c/p>\n\u003cp>I’m not that ambitious, but I figured I could at least skate for one night.\u003c/p>\n\u003cp>Miles’ daughter retrieves my skates while on her own wheels. I stow my bag at the coat check that Miles’ niece runs. Sometimes Miles’ son will DJ the bumping music that ties the experience together. It’s a real family operation.\u003c/p>\n\u003cp>Sitting in a pew, I lace up my skates. I want to look something like Miles in his fuzzy purple leg warmers and sparkly red-and-black top hat, so I put on the next best thing: a cupcake costume.\u003c/p>\n\u003cfigure id=\"attachment_11002598\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002598\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg\" alt='David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you waddle or sail around the rink, there’s something incredible about the giant stained-glass windows and disco lights. Beyond the funky-meets-virtuous vibe, the history of this building is rich. The former Sacred Heart Church closed in 2004, due to low attendance and a need for costly seismic repairs. But during the century it was open, the church saw a demographic that changed with the neighborhood around it. Notably, it once housed a Black Panther breakfast program.\u003c/p>\n\u003cp>Tonight, though, it’s about funky town and raspberry berets. Miles, who takes turns DJing and skating, spots some first-time rollers.\u003c/p>\n\u003cp>“This is what I call the 45-second skate lesson,” he says, helping out a pair in their 30s. After doling out his standard instructions, he encourages them: “One lap. That’s all you need. When you come back around here you’ll be going, ‘Hey, it’s pretty cool.’ ”\u003c/p>\n\u003cp>Miles skates back over to me and smiles. “It never gets worse,” he says. “It only gets better. I love it.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published in November 2016 as part of The California Report Magazine's \"\u003ca href=\"https://www.kqed.org/news/tag/hidden-gems\">Hidden Gems\u003c/a>\" series. It re-aired on July 3rd, 2020 for a special show called \"Buckle Up: A (Virtual) Road Trip to CA Hidden Gems.\" Note: The indoor rink is closed due to shelter-in-place orders, but the Church of 8 Wheels is holding outdoor skating events — including a socially distanced disco party in San Francisco’s Golden Gate Park, every Friday night.\u003c/em>\u003c/p>\n\u003cp>Daniel Albert climbs a dusty church tower, lifts his arms above his head and grabs hold of a rope that comes from a hole in the ceiling. As he pulls it, the church bell on the other end chimes and resonates across this central San Francisco neighborhood. It’s 7 o’clock on a Friday night.\u003c/p>\n\u003cp>Then the music begins. But instead of hearing hymns, I hear disco. That’s because I’m at the \u003ca href=\"http://www.churchof8wheels.com/\">Church of 8 Wheels\u003c/a>. It’s a roller disco in a 120-year-old former Catholic church, just blocks from San Francisco’s famous Painted Lady rowhouses at Alamo Square. Albert is the operations manager, but he doubles as a rollerblading sensation. If you’ve been to this church, on Fillmore at Fell, you’ll know him as the guy with metallic reflective wings.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/272358511&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/272358511'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the expansive space, old pews are pushed against the walls and lights reflect off a disco ball and onto the ceiling murals. David G. Miles Jr., known as the “Godfather of Skate,” proselytizes. “I am your roller disco minister,” he says. “I mean, it’s the Church of 8 Wheels, and as the godfather it’s my responsibility to spread rolligion everywhere I go.”\u003c/p>\n\u003cfigure id=\"attachment_11002592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002592\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg\" alt=\"A typical night at the Church of 8 Wheels.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19942_IMG_5722-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A typical night at the Church of 8 Wheels. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That's right. \u003cem>Roll\u003c/em>igion.\u003c/p>\n\u003cp>The Church of 8 Wheels is Miles’ brainchild.\u003c/p>\n\u003cp>He moved to San Francisco in 1979. “I started skating in Golden Gate Park on my third or fourth day in San Francisco,” he says. “When I went out there I saw four people go by on roller skates and I was like, ‘Wow! They do that here?! I can do that.’ I went and got a pair of skates.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He met his wife in the park, and later their kids learned to skate just after they learned to walk. Miles organized skate groups on top of the Embarcadero Freeway after the earthquake of 1989, and he even skated from San Francisco to Los Angeles — 14 times.\u003c/p>\n\u003cp>I’m not that ambitious, but I figured I could at least skate for one night.\u003c/p>\n\u003cp>Miles’ daughter retrieves my skates while on her own wheels. I stow my bag at the coat check that Miles’ niece runs. Sometimes Miles’ son will DJ the bumping music that ties the experience together. It’s a real family operation.\u003c/p>\n\u003cp>Sitting in a pew, I lace up my skates. I want to look something like Miles in his fuzzy purple leg warmers and sparkly red-and-black top hat, so I put on the next best thing: a cupcake costume.\u003c/p>\n\u003cfigure id=\"attachment_11002598\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11002598\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg\" alt='David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/RS19932_IMG_5672-qut-1-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David G. Miles, Jr. created the Church of 8 Wheels. In addition to skating, the \"Godfather of Skate\" sometimes mans the DJ booth. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you waddle or sail around the rink, there’s something incredible about the giant stained-glass windows and disco lights. Beyond the funky-meets-virtuous vibe, the history of this building is rich. The former Sacred Heart Church closed in 2004, due to low attendance and a need for costly seismic repairs. But during the century it was open, the church saw a demographic that changed with the neighborhood around it. Notably, it once housed a Black Panther breakfast program.\u003c/p>\n\u003cp>Tonight, though, it’s about funky town and raspberry berets. Miles, who takes turns DJing and skating, spots some first-time rollers.\u003c/p>\n\u003cp>“This is what I call the 45-second skate lesson,” he says, helping out a pair in their 30s. After doling out his standard instructions, he encourages them: “One lap. That’s all you need. When you come back around here you’ll be going, ‘Hey, it’s pretty cool.’ ”\u003c/p>\n\u003cp>Miles skates back over to me and smiles. “It never gets worse,” he says. “It only gets better. I love it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Radio Station, Born From the Ashes of KUSF, Granted FM Frequency",
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"content": "\u003cp>More than five years after 90.3 KUSF was taken off the air, its former staffers have succeeded in securing another FM frequency and will be bringing back its version of community programming to the radio. \u003c/p>\n\u003cp>Last Friday the Federal Communications Commission (FCC) selected \u003ca href=\"http://savekusf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Radio\u003c/a> (SFCR), a non-profit organization started by KUSF staffers, and San Francisco Public Press to run low-power FM stations inside city limits. The two organizations will have to share a frequency, 102.5 FM, but the decision means that, barring any appeals by groups that were denied licenses, the once influential San Francisco radio station will be back on the air. \u003c/p>\n\u003cp>\u003ca href=\"http://savekusf.org/about-us/history\">KUSF was started in 1963\u003c/a> at the University of San Francisco (USF) as a campus-only, student-run AM station, until it was offered an FM station ten years later. It then became a noncommercial educational station, and its programming was shared by students and local residents, who mixed a wide variety of music with news and cultural shows, many of which were in other languages (Chinese, Polish and 11 others).\u003c/p>\n\u003cfigure id=\"attachment_11759421\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg\" alt=\"The SFCR logo\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11759421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The SFCR logo\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re serving parts of the community that haven’t really had a broadcast outlet,” SFCR treasurer Damin Esper said. “There are so many symbiotic relationships there. We broadcasted a show in Polish; where is Polish on the commercial or non-commercial radio dial now?” \u003c/p>\n\u003cp>The station began 24-hour programming in 1981, and would go on to receive several awards and recognition for its work, including having San Francisco Mayor Willie Brown declare April 25, 1998 — the station’s 35th birthday — as “KUSF 90.3 FM Stereo Day In San Francisco.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KUSF was suddenly taken off the air back in January of 2011 after USF sold its license to a University of Southern California-owned corporation that runs classical stations. KUSF’s old frequency is now occupied by KDFC, the “Bay Area’s listener-supported classical radio station.”\u003c/p>\n\u003cp>Former KUSF staffers \u003ca href=\"http://savekusf.org/news/appeals-of-proposed-kusf-90-3-fm-sale-filed-with-fcc.html\" target=\"_blank\" rel=\"noopener\">fought the sale \u003c/a> but lost, yet they kept the programming alive with an online station called “KUSF in Exile.” Then in 2013, the station applied for a FM license and after three years, a decision was in their favor.\u003c/p>\n\u003cp>Now the two groups — SFCR and San Francisco Public Press — have until July 22 to determine which group will air at what times and if they don’t, the FCC will decide for them. They will also have two years to set up a transmitter and raise funds for all the new equipment, which is a challenge since the signal won’t reach far beyond the city limits. \u003c/p>\n\u003cp>“We aren’t going to get millions of people listening but we’re going to hit some groups that aren’t franchised by broadcast radio anywhere else, and that’s kind-of the intent,” Esper said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Correction:\u003c/b> This article originally stated that the SFCR and San Francisco Public Press had two years to decide on what times their programs would air — they actually only have until July 22. They have two years to begin broadcasting.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than five years after 90.3 KUSF was taken off the air, its former staffers have succeeded in securing another FM frequency and will be bringing back its version of community programming to the radio. \u003c/p>\n\u003cp>Last Friday the Federal Communications Commission (FCC) selected \u003ca href=\"http://savekusf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Radio\u003c/a> (SFCR), a non-profit organization started by KUSF staffers, and San Francisco Public Press to run low-power FM stations inside city limits. The two organizations will have to share a frequency, 102.5 FM, but the decision means that, barring any appeals by groups that were denied licenses, the once influential San Francisco radio station will be back on the air. \u003c/p>\n\u003cp>\u003ca href=\"http://savekusf.org/about-us/history\">KUSF was started in 1963\u003c/a> at the University of San Francisco (USF) as a campus-only, student-run AM station, until it was offered an FM station ten years later. It then became a noncommercial educational station, and its programming was shared by students and local residents, who mixed a wide variety of music with news and cultural shows, many of which were in other languages (Chinese, Polish and 11 others).\u003c/p>\n\u003cfigure id=\"attachment_11759421\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg\" alt=\"The SFCR logo\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11759421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The SFCR logo\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re serving parts of the community that haven’t really had a broadcast outlet,” SFCR treasurer Damin Esper said. “There are so many symbiotic relationships there. We broadcasted a show in Polish; where is Polish on the commercial or non-commercial radio dial now?” \u003c/p>\n\u003cp>The station began 24-hour programming in 1981, and would go on to receive several awards and recognition for its work, including having San Francisco Mayor Willie Brown declare April 25, 1998 — the station’s 35th birthday — as “KUSF 90.3 FM Stereo Day In San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KUSF was suddenly taken off the air back in January of 2011 after USF sold its license to a University of Southern California-owned corporation that runs classical stations. KUSF’s old frequency is now occupied by KDFC, the “Bay Area’s listener-supported classical radio station.”\u003c/p>\n\u003cp>Former KUSF staffers \u003ca href=\"http://savekusf.org/news/appeals-of-proposed-kusf-90-3-fm-sale-filed-with-fcc.html\" target=\"_blank\" rel=\"noopener\">fought the sale \u003c/a> but lost, yet they kept the programming alive with an online station called “KUSF in Exile.” Then in 2013, the station applied for a FM license and after three years, a decision was in their favor.\u003c/p>\n\u003cp>Now the two groups — SFCR and San Francisco Public Press — have until July 22 to determine which group will air at what times and if they don’t, the FCC will decide for them. They will also have two years to set up a transmitter and raise funds for all the new equipment, which is a challenge since the signal won’t reach far beyond the city limits. \u003c/p>\n\u003cp>“We aren’t going to get millions of people listening but we’re going to hit some groups that aren’t franchised by broadcast radio anywhere else, and that’s kind-of the intent,” Esper said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Correction:\u003c/b> This article originally stated that the SFCR and San Francisco Public Press had two years to decide on what times their programs would air — they actually only have until July 22. They have two years to begin broadcasting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B.",
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"headTitle": "Cy and David’s Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio//2016/06/TDL20160701.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=oacUgWXrqwc\u003c/p>\n\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4c-lIkZ9HRc\u003c/p>\n\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=drzmETZGEt4\u003c/p>\n\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=isP8pNby39A\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9vaoIH__70\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oacUgWXrqwc'\n title='//www.youtube.com/embed/oacUgWXrqwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4c-lIkZ9HRc'\n title='//www.youtube.com/embed/4c-lIkZ9HRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/drzmETZGEt4'\n title='//www.youtube.com/embed/drzmETZGEt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/isP8pNby39A'\n title='//www.youtube.com/embed/isP8pNby39A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D9vaoIH__70'\n title='//www.youtube.com/embed/D9vaoIH__70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artist \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and political commentator \u003ca href=\"http://www.vanjones.net/\" target=\"_blank\" rel=\"noopener\">Van Jones\u003c/a> have a lot in common. They both came up through the grassroots activism scene of the Bay Area in the late 1990s. They both run non-profit organizations/initiatives — respectively, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> and \u003ca href=\"http://www.greenforall.org/\" target=\"_blank\" rel=\"noopener\">Green for All \u003c/a>— that seek to provide environmental justice for communities of color. And they’re both on a mission to shake up the environmental movement by putting artists from diverse backgrounds at the forefront of the drive to combat global warming.\u003c/p>\n\u003cp>“For so long, when you think of environmentalists, you think of a white guy in Birkenstocks, and yet communities of color have dirtier air, dirtier water, refineries,” Rodriguez says. “I think in the climate movement we need to make room for more artists to tell stories from the front lines that lead us to action.”\u003c/p>\n\u003cp>Jones and Rodriguez strongly believe that artists coming out of struggling neighborhoods are uniquely equipped to deliver a powerful message about the environment. The traditional ways of talking about climate change are just not getting across. Conversely, comedians, visual artists, writers and other creatives know how to connect the hard facts with people’s hearts.\u003c/p>\n\u003cp>“When we talk about global warming, we have people who are paid millions of dollars to do polls and communicate, but their messages don’t work,” Jones says. “But you get Boots Riley, one of the great rappers, to describe the problem — that’s much more effective.”\u003c/p>\n\u003cp>KQED Arts invited Jones and Rodriguez to share their thoughts about art and the environment in a conversation that was recorded at Rodriguez’s studio in West Oakland on Friday, Jun. 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the video, here is an extended audio version of the interview, edited from the original conversation.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271482359″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp style=\"text-align: right\">\u003cem>–Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">The above video features the following artists and their work:\u003c/p>\n\u003cul>\n\u003cli>CultureStrike and JustSeeds \u003cem>We are the Storm\u003c/em> climate change portfolio, featuring work by Favianna Rodriguez, Meredith Stern, and Nicolas Medin\u003c/li>\n\u003cli>\u003cem>Brother Earth\u003c/em>, featuring Boots Riley and Josh Healey, produced by Movement Generation\u003c/li>\n\u003cli>\u003cem>Climate Warrior\u003c/em>, produced by CultureStrike\u003c/li>\n\u003cli>\u003cem>Land,\u003c/em> by Lares Feliciano\u003c/li>\n\u003cli>\u003cem>Into the Streets \u003c/em>produced by Meerkat Media Collective\u003c/li>\n\u003cli>Coverage of the Climate Ribbon Project\u003c/li>\n\u003cli>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and political commentator \u003ca href=\"http://www.vanjones.net/\" target=\"_blank\" rel=\"noopener\">Van Jones\u003c/a> have a lot in common. They both came up through the grassroots activism scene of the Bay Area in the late 1990s. They both run non-profit organizations/initiatives — respectively, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> and \u003ca href=\"http://www.greenforall.org/\" target=\"_blank\" rel=\"noopener\">Green for All \u003c/a>— that seek to provide environmental justice for communities of color. And they’re both on a mission to shake up the environmental movement by putting artists from diverse backgrounds at the forefront of the drive to combat global warming.\u003c/p>\n\u003cp>“For so long, when you think of environmentalists, you think of a white guy in Birkenstocks, and yet communities of color have dirtier air, dirtier water, refineries,” Rodriguez says. “I think in the climate movement we need to make room for more artists to tell stories from the front lines that lead us to action.”\u003c/p>\n\u003cp>Jones and Rodriguez strongly believe that artists coming out of struggling neighborhoods are uniquely equipped to deliver a powerful message about the environment. The traditional ways of talking about climate change are just not getting across. Conversely, comedians, visual artists, writers and other creatives know how to connect the hard facts with people’s hearts.\u003c/p>\n\u003cp>“When we talk about global warming, we have people who are paid millions of dollars to do polls and communicate, but their messages don’t work,” Jones says. “But you get Boots Riley, one of the great rappers, to describe the problem — that’s much more effective.”\u003c/p>\n\u003cp>KQED Arts invited Jones and Rodriguez to share their thoughts about art and the environment in a conversation that was recorded at Rodriguez’s studio in West Oakland on Friday, Jun. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "New Music From DJ Shadow and the Dead Ships",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Some acts reinvent their musical forms, some reinvigorate theirs. We’ve got one of each here, plus a bonus track from a young artist ready to make her mark.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/271446104\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cb>DJ Shadow, “The Mountain Will Fall”\u003c/b>\u003c/p>\n\u003cp>When it was released 20 years ago, \u003ca href=\"http://djshadow.com/home/\">DJ Shadow\u003c/a>’s “Endtroducing” was a game-changer, not just credited as the first album entirely constructed of samples (recognized as such by the Guinness folks), but a thrilling listen, deftly and laboriously built \u003ci>musique concrete\u003c/i> that took us through arcs and waves of moods and sounds, sometimes dark and moody, sometimes joyous and sometimes jolting.\u003c/p>\n\u003cp>With “The Mountain Will Fall,” only his fourth proper album since that debut, Shadow (a.k.a. Josh Davis), seems content just to play the game, not change it. That’s okay. He’s still got some moves. Moves that might make you move. Take “Nobody Speak,” on which he teams with New York hip-hop superduo Run the Jewels (El-P and Killer Mike). It’s not the quick-cut found-sound collage of yore, but it’s an impressive assembly nonetheless, with the edgy, siege-mentality raps on top of a kind of surf-soul-funk-brass melange. “The Sideshow,” featuring Ernie Fresh, also delivers solid hip-hop punch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere are found-sound experiments (“Three Ralphs” mixing some cut-up film dialogue and, well, shadowy sci-fi/horror sounds), elasticized beat play and sonic chop-shop reassemblies intersect hip-hop, EDM and sound manipulation. Some is coherent and engaging, some not so much, perhaps pointedly. “Ashes to Oceans,” for example, alternates between shapeless blips and a melancholy elegy with a somber trumpet line, fading away to the sound of waves lapping a shore behind a tinkling piano.\u003c/p>\n\u003cp>If there’s a dominant mood, it’s captured in the title, and the title song, a sense of a world closing in, of unsure footing, of precariousness. Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lbuqo6NfVB8\u003c/p>\n\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. So somehow it’s refreshing now and then to hear a band that seems to want to reach people, to write some anthems. Even better when they have not just the moxie, but the skills to do it.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.thedeadships.com\">the Dead Ships\u003c/a>.\u003c/p>\n\u003cp>Rock energy, sing-along chorus hooks, a desire to both engage and entertain. Think the Foo Fighters with more bite. That’s a compliment. Listen to “Spun Yarns.” You hear that, right?\u003c/p>\n\u003cp>The yarns spun here are, as the album title implies, of and from the city, home to singer-guitarist Devlin McClusky and drummer Chris Spindelilus, founders and core of the band. And, as the title also implies, it’s a relationship of mixed feelings, like being stuck in a 101 traffic jam while enjoying an undeniably beautiful day. Perversely, perhaps, the cover picture is a shot of that very thoroughfare with traffic flowing freely. Sure, the album title, and arguably much of the mood, reference a statistical preponderance of people committing suicide from the Golden Gate Bridge do so facing the city of San Francisco. Sure, McClusky is a transplant from another complex metropolis, Chicago. But this is an L.A. album.\u003c/p>\n\u003cp>We roam from “Los Feliz” in the shadows of Griffith Park to the twisty turns of the “Canyon” (Laurel? Coldwater? Topanga?), the band prowling and howling like a pack of coyotes dodging the encroaching gentry. The tensions of those transitions thread through the sounds, the restless, messy uncertainty of vying to stake a claim to a city in which it’s increasingly hard to stake a claim.\u003c/p>\n\u003cp>Produced with crisp intensity by Brendan Canning (of Canada’s Broken Social Scene), “Citycide” justifies the buzz the band’s got from strong support of radio giant KROQ and a Coachella slot this year. It’s not a statement on the level of X’s “Los Angeles” debut a few rock generations ago, or even Guns ’N Roses’ “Appetite for Destruction” a little later. But it’s a statement. That’s noteworthy in itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LP_MIw8Lvrk\u003c/p>\n\u003cp>\u003cb>Bonus track: Jay Som, “I Think You’re Alright”\u003c/b>\u003c/p>\n\u003cp>“I’ll wipe your blood off the concrete, take you to the party, we’ll drink until our brains black-out….” Well, \u003ci>someone’s\u003c/i> not alright. Young Bay Area singer Jay Som (real name: Melina Duterte) previews her upcoming debut album with a single that neatly captures how rose-colored glasses make it hard to see red flags. Her calm demeanor is perfect, though the music gradually shows some cracks in the mirror, and fuzzy, ‘70s-ish guitar solo at the end morphs into a, what’s the term? Hot mess? Perfect. Som/Duterte has thus far only released music on Bandcamp, including some un- or semi-finished songs from over the last few years. Even that is strong and worth exploring, and it's gotten her enough attention that she's now on tour with hot artists Mitski and Japanese Breakfast, having put together a band to expand her music on stage. Eager to hear whatever is next from her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://soundcloud.com/fatpossum/jay-som-i-think-youre-alright\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some acts reinvent their musical forms, some reinvigorate theirs. We’ve got one of each here, plus a bonus track from a young artist ready to make her mark.\u003c/p>\n\u003cp>\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/271446104&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/271446104'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>DJ Shadow, “The Mountain Will Fall”\u003c/b>\u003c/p>\n\u003cp>When it was released 20 years ago, \u003ca href=\"http://djshadow.com/home/\">DJ Shadow\u003c/a>’s “Endtroducing” was a game-changer, not just credited as the first album entirely constructed of samples (recognized as such by the Guinness folks), but a thrilling listen, deftly and laboriously built \u003ci>musique concrete\u003c/i> that took us through arcs and waves of moods and sounds, sometimes dark and moody, sometimes joyous and sometimes jolting.\u003c/p>\n\u003cp>With “The Mountain Will Fall,” only his fourth proper album since that debut, Shadow (a.k.a. Josh Davis), seems content just to play the game, not change it. That’s okay. He’s still got some moves. Moves that might make you move. Take “Nobody Speak,” on which he teams with New York hip-hop superduo Run the Jewels (El-P and Killer Mike). It’s not the quick-cut found-sound collage of yore, but it’s an impressive assembly nonetheless, with the edgy, siege-mentality raps on top of a kind of surf-soul-funk-brass melange. “The Sideshow,” featuring Ernie Fresh, also delivers solid hip-hop punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere are found-sound experiments (“Three Ralphs” mixing some cut-up film dialogue and, well, shadowy sci-fi/horror sounds), elasticized beat play and sonic chop-shop reassemblies intersect hip-hop, EDM and sound manipulation. Some is coherent and engaging, some not so much, perhaps pointedly. “Ashes to Oceans,” for example, alternates between shapeless blips and a melancholy elegy with a somber trumpet line, fading away to the sound of waves lapping a shore behind a tinkling piano.\u003c/p>\n\u003cp>If there’s a dominant mood, it’s captured in the title, and the title song, a sense of a world closing in, of unsure footing, of precariousness. Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lbuqo6NfVB8'\n title='//www.youtube.com/embed/lbuqo6NfVB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. So somehow it’s refreshing now and then to hear a band that seems to want to reach people, to write some anthems. Even better when they have not just the moxie, but the skills to do it.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.thedeadships.com\">the Dead Ships\u003c/a>.\u003c/p>\n\u003cp>Rock energy, sing-along chorus hooks, a desire to both engage and entertain. Think the Foo Fighters with more bite. That’s a compliment. Listen to “Spun Yarns.” You hear that, right?\u003c/p>\n\u003cp>The yarns spun here are, as the album title implies, of and from the city, home to singer-guitarist Devlin McClusky and drummer Chris Spindelilus, founders and core of the band. And, as the title also implies, it’s a relationship of mixed feelings, like being stuck in a 101 traffic jam while enjoying an undeniably beautiful day. Perversely, perhaps, the cover picture is a shot of that very thoroughfare with traffic flowing freely. Sure, the album title, and arguably much of the mood, reference a statistical preponderance of people committing suicide from the Golden Gate Bridge do so facing the city of San Francisco. Sure, McClusky is a transplant from another complex metropolis, Chicago. But this is an L.A. album.\u003c/p>\n\u003cp>We roam from “Los Feliz” in the shadows of Griffith Park to the twisty turns of the “Canyon” (Laurel? Coldwater? Topanga?), the band prowling and howling like a pack of coyotes dodging the encroaching gentry. The tensions of those transitions thread through the sounds, the restless, messy uncertainty of vying to stake a claim to a city in which it’s increasingly hard to stake a claim.\u003c/p>\n\u003cp>Produced with crisp intensity by Brendan Canning (of Canada’s Broken Social Scene), “Citycide” justifies the buzz the band’s got from strong support of radio giant KROQ and a Coachella slot this year. It’s not a statement on the level of X’s “Los Angeles” debut a few rock generations ago, or even Guns ’N Roses’ “Appetite for Destruction” a little later. But it’s a statement. That’s noteworthy in itself.\u003c/p>\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/LP_MIw8Lvrk'\n title='//www.youtube.com/embed/LP_MIw8Lvrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Bonus track: Jay Som, “I Think You’re Alright”\u003c/b>\u003c/p>\n\u003cp>“I’ll wipe your blood off the concrete, take you to the party, we’ll drink until our brains black-out….” Well, \u003ci>someone’s\u003c/i> not alright. Young Bay Area singer Jay Som (real name: Melina Duterte) previews her upcoming debut album with a single that neatly captures how rose-colored glasses make it hard to see red flags. Her calm demeanor is perfect, though the music gradually shows some cracks in the mirror, and fuzzy, ‘70s-ish guitar solo at the end morphs into a, what’s the term? Hot mess? Perfect. Som/Duterte has thus far only released music on Bandcamp, including some un- or semi-finished songs from over the last few years. Even that is strong and worth exploring, and it's gotten her enough attention that she's now on tour with hot artists Mitski and Japanese Breakfast, having put together a band to expand her music on stage. Eager to hear whatever is next from her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://soundcloud.com/fatpossum/jay-som-i-think-youre-alright\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Should Pacific Bluefin Tuna Be Listed As An Endangered Species?",
"title": "Should Pacific Bluefin Tuna Be Listed As An Endangered Species?",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Environmentalists are demanding that one of the most prized fishes on the planet be listed as an endangered species.\u003c/p>\n\u003cp>Last week, about a dozen environmental groups — including Greenpeace, the Center for Biological Diversity, Defenders of Wildlife and Earthjustice — formally petitioned the U.S. National Marine Fisheries Service to consider listing the Pacific bluefin tuna as endangered under the Endangered Species Act. That status mandates the highest levels of protection from harm.\u003c/p>\n\u003cp>Other endangered species include the California condor and the Florida panther. Some scientists and activists feel the chances of getting the fish listed are slim. However, many also feel the action is long overdue.\u003c/p>\n\u003cp>The Pacific bluefin tuna, a species distinct from the overfished Atlantic bluefin, has been depleted to less than 3 percent of its estimated unfished levels, according to numerous researchers.\u003c/p>\n\u003cp>This, scientists and environmentalists argue, is an ecological emergency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The stock is down over 97 percent from pre-fishing levels, so there is no doubt the species needs to have some protections put in place,\" Duke University research scientist \u003ca href=\"https://nicholas.duke.edu/people/faculty/boustany\" target=\"_blank\">Andre Boustany\u003c/a> tells The Salt via email.\u003c/p>\n\u003cp>One of the problems with current fishing patterns, says Catherine Kilduff, a staff attorney with the Center for Biological Diversity, is that most – possibly more than 98 percent, she says – of the Pacific bluefin that are caught and processed are immature juveniles that have never reproduced.\u003c/p>\n\u003cp>\"So the baby fish never grow up to be moms and dads, and the adult fish eventually die,\" Kilduff says. \"We feel this is a recipe for extinction.\"\u003c/p>\n\u003cp>The international fishery essentially manages itself, setting its own quotas each year, and critics say too many tuna are taken. Boustany, for one, says the fishery managers' population recovery goals are much too modest: By 2024, he says, \"the current management measures are only aiming to rebuild the stock to\" around 6 percent of what it would be if the Pacific bluefin wasn't fished.\u003c/p>\n\u003cp>And \"almost all of the conservation measures that have been put in place to meet this low target are voluntary,\" writes Boustany. \"There is a reasonable probability that this target will not be met.\"\u003c/p>\n\u003cp>The process of considering the petition and eventually listing the Pacific bluefin could take about two years, says Kilduff.\u003c/p>\n\u003cp>She says an endangered status would make it illegal to catch and kill Pacific bluefin in American waters, which extend 200 nautical miles from shore. Kilduff says it would also forbid Americans from possessing the fish even when outside of the United States, and prohibit the sale or trade of Pacific bluefin within the United States. For instance, most of the Pacific bluefin captured by Mexico, and then fattened in open-ocean pens before being slaughtered, is sent to Tokyo via United States ports, according to Boustany. An endangered listing would ban this activity.\u003c/p>\n\u003cp>Bluefin tuna travel great distances across the ocean, through waters governed by many different nations – including Japan, where the bluefin's fatty pink flesh is highly prized as sashimi. The migratory nature of the bluefin has made sustainable fishery management a challenge, since it requires the close cooperation of numerous national governments.\u003c/p>\n\u003cp>It's also part of the reason why protection under the Endangered Species Act would have limited effects on the fishery and the species' population. Of the 37 million pounds of Pacific bluefin caught by fishermen in 2014, American fishermen caught just 2 percent, according to data provided by Michael Milstein, a public affairs officer with NOAA Fisheries. (Japan took about half and Mexico almost 30 percent.)\u003c/p>\n\u003cp>Likewise, a relatively small amount of Pacific bluefin is consumed in the United States. According to \u003ca href=\"http://www.st.nmfs.noaa.gov/pls/webpls/trade_prdct.data_in?qtype=IMP&qmnth=12&qyear=2015&qprod_name=TUNA+BLUEFIN&qoutput=TABLE\" target=\"_blank\">federal catch data\u003c/a>, the United States imported only about 3 percent of 2014's landings of Pacific bluefin tuna.\u003c/p>\n\u003cp>The United States' small role in the bluefin industry is why some conservationists feel listing the Pacific bluefin as endangered would be largely symbolic.\u003c/p>\n\u003cp>\"It would affect fishing for Pacific bluefin in U.S. waters and would also stop imports of Pacific bluefin into the States, and that would send a major signal to the global market\" that current fishing trends are not sustainable, says restaurateur and seafood sustainability consultant Casson Trenor, whose San Francisco sushi restaurant group \u003ca href=\"http://www.tatakisushibar.com/\" target=\"_blank\">Tataki\u003c/a> has \u003ca href=\"http://www.npr.org/sections/thesalt/2015/01/07/375366742/why-some-chefs-just-cant-quit-serving-bluefin-tuna\" target=\"_blank\">vowed never to serve bluefin tuna\u003c/a>.\u003c/p>\n\u003cp>While Pacific bluefin \u003ca href=\"https://swfsc.noaa.gov/news.aspx?ParentMenuId=287&id=21883&cmsMode=Preview&langtype=1033\" target=\"_blank\">stock assessments\u003c/a> show a slight population jump – from 2 percent to 2.6 percent of its unfished size – from 2012 to 2014, Boustany is skeptical that the rough modeling system used to make these estimates is actually capable of detecting such subtle changes. He tells The Salt he believes that, since the species has been in almost nonstop decline for decades, the Pacific bluefin's numbers are possibly still dropping.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.wcpfc.int/\" target=\"_blank\">Western and Central Pacific Fisheries Commission\u003c/a> and the \u003ca href=\"https://www.iattc.org/HomeENG.htm\" target=\"_blank\">Inter-American Tropical Tuna Commission\u003c/a> are the two organizations that manage the bulk of the Pacific bluefin catch.\u003c/p>\n\u003cp>The IATTC, which is convening in southern California this week to consider the next year's fishing regulations, said no one was available to comment for this story. The WCPFC, based in Micronesia, did not reply to multiple emails.\u003c/p>\n\u003cp>Buzz Brizendine, captain of the San Diego-based recreational fishing boat \u003ca href=\"http://www.fishermanslanding.com/pages/Prowler.php\">The Prowler\u003c/a>, says he thinks listing Pacific bluefin, and thereby banning fishing for the species, would be unfair and relatively ineffective.\u003c/p>\n\u003cp>\"Recreational fishermen have already had their daily bag limit on Pacific bluefin reduced from 10 to 2 fish,\" says Brizendine, who takes customers fishing for bluefin in the summer months. \"We've already made a significant contribution to reducing the catch.\"\u003c/p>\n\u003cp>Brizendine sits on the Pacific Fishery Management Council, the advisory panel that makes recommendations to the U.S. government on how to manage many species. He says efforts to reduce mortality of Pacific bluefin must be focused on the western Pacific – the waters near Asia – where more than three-fourths of the catch is taken.\u003c/p>\n\u003cp>Some depleted but commercially valued fishes, like several strains of Chinook salmon and a handful of rockfish species, have been afforded strict protections by the federal government. Kilduff notes that her organization petitioned the U.S. fisheries service in 2014 to add the Pacific bluefin to its list of species that can't be fished under regulations.\u003c/p>\n\u003cp>\"They denied that petition [two weeks ago],\" she says. \"So, we've tried to get them to take action before, and they haven't.\"\u003c/p>\n\u003cp>That, says tuna researcher and author \u003ca href=\"http://safinacenter.org/\" target=\"_blank\">Carl Safina\u003c/a>, is simply because Pacific bluefin are so valuable. He signed the petition but thinks the odds of getting the Pacific bluefin listed are slim. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"headline": "Should Pacific Bluefin Tuna Be Listed As An Endangered Species?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Environmentalists are demanding that one of the most prized fishes on the planet be listed as an endangered species.\u003c/p>\n\u003cp>Last week, about a dozen environmental groups — including Greenpeace, the Center for Biological Diversity, Defenders of Wildlife and Earthjustice — formally petitioned the U.S. National Marine Fisheries Service to consider listing the Pacific bluefin tuna as endangered under the Endangered Species Act. That status mandates the highest levels of protection from harm.\u003c/p>\n\u003cp>Other endangered species include the California condor and the Florida panther. Some scientists and activists feel the chances of getting the fish listed are slim. However, many also feel the action is long overdue.\u003c/p>\n\u003cp>The Pacific bluefin tuna, a species distinct from the overfished Atlantic bluefin, has been depleted to less than 3 percent of its estimated unfished levels, according to numerous researchers.\u003c/p>\n\u003cp>This, scientists and environmentalists argue, is an ecological emergency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The stock is down over 97 percent from pre-fishing levels, so there is no doubt the species needs to have some protections put in place,\" Duke University research scientist \u003ca href=\"https://nicholas.duke.edu/people/faculty/boustany\" target=\"_blank\">Andre Boustany\u003c/a> tells The Salt via email.\u003c/p>\n\u003cp>One of the problems with current fishing patterns, says Catherine Kilduff, a staff attorney with the Center for Biological Diversity, is that most – possibly more than 98 percent, she says – of the Pacific bluefin that are caught and processed are immature juveniles that have never reproduced.\u003c/p>\n\u003cp>\"So the baby fish never grow up to be moms and dads, and the adult fish eventually die,\" Kilduff says. \"We feel this is a recipe for extinction.\"\u003c/p>\n\u003cp>The international fishery essentially manages itself, setting its own quotas each year, and critics say too many tuna are taken. Boustany, for one, says the fishery managers' population recovery goals are much too modest: By 2024, he says, \"the current management measures are only aiming to rebuild the stock to\" around 6 percent of what it would be if the Pacific bluefin wasn't fished.\u003c/p>\n\u003cp>And \"almost all of the conservation measures that have been put in place to meet this low target are voluntary,\" writes Boustany. \"There is a reasonable probability that this target will not be met.\"\u003c/p>\n\u003cp>The process of considering the petition and eventually listing the Pacific bluefin could take about two years, says Kilduff.\u003c/p>\n\u003cp>She says an endangered status would make it illegal to catch and kill Pacific bluefin in American waters, which extend 200 nautical miles from shore. Kilduff says it would also forbid Americans from possessing the fish even when outside of the United States, and prohibit the sale or trade of Pacific bluefin within the United States. For instance, most of the Pacific bluefin captured by Mexico, and then fattened in open-ocean pens before being slaughtered, is sent to Tokyo via United States ports, according to Boustany. An endangered listing would ban this activity.\u003c/p>\n\u003cp>Bluefin tuna travel great distances across the ocean, through waters governed by many different nations – including Japan, where the bluefin's fatty pink flesh is highly prized as sashimi. The migratory nature of the bluefin has made sustainable fishery management a challenge, since it requires the close cooperation of numerous national governments.\u003c/p>\n\u003cp>It's also part of the reason why protection under the Endangered Species Act would have limited effects on the fishery and the species' population. Of the 37 million pounds of Pacific bluefin caught by fishermen in 2014, American fishermen caught just 2 percent, according to data provided by Michael Milstein, a public affairs officer with NOAA Fisheries. (Japan took about half and Mexico almost 30 percent.)\u003c/p>\n\u003cp>Likewise, a relatively small amount of Pacific bluefin is consumed in the United States. According to \u003ca href=\"http://www.st.nmfs.noaa.gov/pls/webpls/trade_prdct.data_in?qtype=IMP&qmnth=12&qyear=2015&qprod_name=TUNA+BLUEFIN&qoutput=TABLE\" target=\"_blank\">federal catch data\u003c/a>, the United States imported only about 3 percent of 2014's landings of Pacific bluefin tuna.\u003c/p>\n\u003cp>The United States' small role in the bluefin industry is why some conservationists feel listing the Pacific bluefin as endangered would be largely symbolic.\u003c/p>\n\u003cp>\"It would affect fishing for Pacific bluefin in U.S. waters and would also stop imports of Pacific bluefin into the States, and that would send a major signal to the global market\" that current fishing trends are not sustainable, says restaurateur and seafood sustainability consultant Casson Trenor, whose San Francisco sushi restaurant group \u003ca href=\"http://www.tatakisushibar.com/\" target=\"_blank\">Tataki\u003c/a> has \u003ca href=\"http://www.npr.org/sections/thesalt/2015/01/07/375366742/why-some-chefs-just-cant-quit-serving-bluefin-tuna\" target=\"_blank\">vowed never to serve bluefin tuna\u003c/a>.\u003c/p>\n\u003cp>While Pacific bluefin \u003ca href=\"https://swfsc.noaa.gov/news.aspx?ParentMenuId=287&id=21883&cmsMode=Preview&langtype=1033\" target=\"_blank\">stock assessments\u003c/a> show a slight population jump – from 2 percent to 2.6 percent of its unfished size – from 2012 to 2014, Boustany is skeptical that the rough modeling system used to make these estimates is actually capable of detecting such subtle changes. He tells The Salt he believes that, since the species has been in almost nonstop decline for decades, the Pacific bluefin's numbers are possibly still dropping.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.wcpfc.int/\" target=\"_blank\">Western and Central Pacific Fisheries Commission\u003c/a> and the \u003ca href=\"https://www.iattc.org/HomeENG.htm\" target=\"_blank\">Inter-American Tropical Tuna Commission\u003c/a> are the two organizations that manage the bulk of the Pacific bluefin catch.\u003c/p>\n\u003cp>The IATTC, which is convening in southern California this week to consider the next year's fishing regulations, said no one was available to comment for this story. The WCPFC, based in Micronesia, did not reply to multiple emails.\u003c/p>\n\u003cp>Buzz Brizendine, captain of the San Diego-based recreational fishing boat \u003ca href=\"http://www.fishermanslanding.com/pages/Prowler.php\">The Prowler\u003c/a>, says he thinks listing Pacific bluefin, and thereby banning fishing for the species, would be unfair and relatively ineffective.\u003c/p>\n\u003cp>\"Recreational fishermen have already had their daily bag limit on Pacific bluefin reduced from 10 to 2 fish,\" says Brizendine, who takes customers fishing for bluefin in the summer months. \"We've already made a significant contribution to reducing the catch.\"\u003c/p>\n\u003cp>Brizendine sits on the Pacific Fishery Management Council, the advisory panel that makes recommendations to the U.S. government on how to manage many species. He says efforts to reduce mortality of Pacific bluefin must be focused on the western Pacific – the waters near Asia – where more than three-fourths of the catch is taken.\u003c/p>\n\u003cp>Some depleted but commercially valued fishes, like several strains of Chinook salmon and a handful of rockfish species, have been afforded strict protections by the federal government. Kilduff notes that her organization petitioned the U.S. fisheries service in 2014 to add the Pacific bluefin to its list of species that can't be fished under regulations.\u003c/p>\n\u003cp>\"They denied that petition [two weeks ago],\" she says. \"So, we've tried to get them to take action before, and they haven't.\"\u003c/p>\n\u003cp>That, says tuna researcher and author \u003ca href=\"http://safinacenter.org/\" target=\"_blank\">Carl Safina\u003c/a>, is simply because Pacific bluefin are so valuable. He signed the petition but thinks the odds of getting the Pacific bluefin listed are slim. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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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.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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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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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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