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"content": "\u003cp>Connie Wolf, director of the \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a> for nearly five years, announced Wednesday that she’s leaving her post, according to a statement released to the center’s staff and friends.\u003c/p>\n\u003cp>Talking to the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>, Wolf said she’d simply accomplished what she set out to do at Stanford. It’s not clear why she decided to leave and leave now, but it’s widely accepted Wolf took the museum from a campus treat to a regional powerhouse.\u003c/p>\n\u003cp>Stanford’s Dean of Humanities and Sciences, Richard Saller, has only high praise for Wolf. “I’ve appreciated her energy, intelligence, discernment,” Saller told KQED. “In many ways, she’s leaving Cantor a stronger museum than she found it.” He adds one of her main mandates was to more tightly integrate the museum with the campus, and Saller says she succeeded, noting “There are many more students in the museum doing internships and taking classes.”\u003c/p>\n\u003cp>Wolf is credited with increasing the free museum’s annual attendance by 60 percent, and improving both the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">museum’s collection and standing in the art world\u003c/a>. Under her leadership, the Cantor acquired works from artists such as Edward Hopper, Andy Warhol and Richard Diebenkorn, and exhibited big name photographers like Lee Friedlander and Robert Frank.\u003c/p>\n\u003cp>Before coming to Stanford in 2012, Wolf was the director and CEO of San Francisco’s \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> (CJM). After taking the position in 1999, Wolf would go on to raise $110 million for the CJM, which was used to build a 63,000-square foot-facility in the city’s downtown — before then, the CJM was located in a 2,500-sq. ft building — and create a $25 million endowment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wiley Hausam, who last year left his position as Stanford’s head of performing arts, wrote “She is obviously brilliant at her job, and this is evidenced by the succession of major exhibitions she brought to campus. I know Stanford will miss her, and I look forward to hearing what is next for her.”\u003c/p>\n\u003cp>Stanford officials will not appoint an interim director while a committee searches for Wolf’s replacement.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/269639663″ 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>\u003c/p>\n\u003cp>\u003ci>Below is the statement released to the Cantor Arts Center staff and friends on Wednesday:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Members and Friends,\u003c/p>\n\u003cp>The Iris & B. Gerald Cantor Center for Visual Arts at Stanford University announces that Connie Wolf, the John and Jill Freidenrich Director, is on sabbatical this summer and has elected not to return in the fall. She departs leaving the museum a vibrant and thriving resource for the community with a senior management team at the Cantor who will manage daily operations until a new director is on board, and all exhibitions, programs, and projects will continue to move forward.\u003c/p>\n\u003cp>Connie Wolf joined Stanford in January 2012 and her achievements while at the helm of the Cantor are numerous. Attendance is up nearly 60% from five years ago. The permanent collection has been enriched and strengthened, particularly in the area of twentieth century art with major acquisitions of works by Richard Diebenkorn, Edward Hopper, Jacob Lawrence, and Andy Warhol. Nearly all of the permanent collection is accessible online after a comprehensive inventory and digitization project and museum hours increased from five days a week to six. Family Sundays tours and art-making activities have become a community favorite.\u003c/p>\n\u003cp>Connie oversaw the construction of an art-viewing classroom, the Wilsey Family Classroom, and significant expansion of Stanford course visits to engage with the collection. She also secured two grants from the Andrew W. Mellon Foundation to support the training of art history PhD candidates through seminars, publications, and exhibitions focused on the permanent collection.\u003c/p>\n\u003cp>We are grateful for your support and engagement and we hope you will have a chance to visit soon!\u003c/p>\n\u003cp>Sincerely,\u003cbr>\nMatthew Tiews\u003cbr>\nAssociate Dean for the Advancement of the Arts\u003cbr>\nStanford University\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Connie Wolf, director of the \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a> for nearly five years, announced Wednesday that she’s leaving her post, according to a statement released to the center’s staff and friends.\u003c/p>\n\u003cp>Talking to the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>, Wolf said she’d simply accomplished what she set out to do at Stanford. It’s not clear why she decided to leave and leave now, but it’s widely accepted Wolf took the museum from a campus treat to a regional powerhouse.\u003c/p>\n\u003cp>Stanford’s Dean of Humanities and Sciences, Richard Saller, has only high praise for Wolf. “I’ve appreciated her energy, intelligence, discernment,” Saller told KQED. “In many ways, she’s leaving Cantor a stronger museum than she found it.” He adds one of her main mandates was to more tightly integrate the museum with the campus, and Saller says she succeeded, noting “There are many more students in the museum doing internships and taking classes.”\u003c/p>\n\u003cp>Wolf is credited with increasing the free museum’s annual attendance by 60 percent, and improving both the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">museum’s collection and standing in the art world\u003c/a>. Under her leadership, the Cantor acquired works from artists such as Edward Hopper, Andy Warhol and Richard Diebenkorn, and exhibited big name photographers like Lee Friedlander and Robert Frank.\u003c/p>\n\u003cp>Before coming to Stanford in 2012, Wolf was the director and CEO of San Francisco’s \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> (CJM). After taking the position in 1999, Wolf would go on to raise $110 million for the CJM, which was used to build a 63,000-square foot-facility in the city’s downtown — before then, the CJM was located in a 2,500-sq. ft building — and create a $25 million endowment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wiley Hausam, who last year left his position as Stanford’s head of performing arts, wrote “She is obviously brilliant at her job, and this is evidenced by the succession of major exhibitions she brought to campus. I know Stanford will miss her, and I look forward to hearing what is next for her.”\u003c/p>\n\u003cp>Stanford officials will not appoint an interim director while a committee searches for Wolf’s replacement.\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/269639663″&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/269639663″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the statement released to the Cantor Arts Center staff and friends on Wednesday:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Members and Friends,\u003c/p>\n\u003cp>The Iris & B. Gerald Cantor Center for Visual Arts at Stanford University announces that Connie Wolf, the John and Jill Freidenrich Director, is on sabbatical this summer and has elected not to return in the fall. She departs leaving the museum a vibrant and thriving resource for the community with a senior management team at the Cantor who will manage daily operations until a new director is on board, and all exhibitions, programs, and projects will continue to move forward.\u003c/p>\n\u003cp>Connie Wolf joined Stanford in January 2012 and her achievements while at the helm of the Cantor are numerous. Attendance is up nearly 60% from five years ago. The permanent collection has been enriched and strengthened, particularly in the area of twentieth century art with major acquisitions of works by Richard Diebenkorn, Edward Hopper, Jacob Lawrence, and Andy Warhol. Nearly all of the permanent collection is accessible online after a comprehensive inventory and digitization project and museum hours increased from five days a week to six. Family Sundays tours and art-making activities have become a community favorite.\u003c/p>\n\u003cp>Connie oversaw the construction of an art-viewing classroom, the Wilsey Family Classroom, and significant expansion of Stanford course visits to engage with the collection. She also secured two grants from the Andrew W. Mellon Foundation to support the training of art history PhD candidates through seminars, publications, and exhibitions focused on the permanent collection.\u003c/p>\n\u003cp>We are grateful for your support and engagement and we hope you will have a chance to visit soon!\u003c/p>\n\u003cp>Sincerely,\u003cbr>\nMatthew Tiews\u003cbr>\nAssociate Dean for the Advancement of the Arts\u003cbr>\nStanford University\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twenty-four years after its founding, the Mission’s Clarion Alley Mural Project (CAMP), a community-based arts space occupying the walls along a 560-foot-long alley between 17th and 18th Streets and Mission and Valencia Streets in San Francisco’s Mission district, \u003ca href=\"http://clarionalleymuralproject.org/\" target=\"_blank\" rel=\"noopener\">unveiled its first website\u003c/a> on Wednesday.\u003c/p>\n\u003cp>The launch of the comprehensive online archive comes with the news of CAMP’s decision to become a nonprofit organization to better support artists’ intellectual property rights and disseminate the social and political messages of the alley’s murals.\u003c/p>\n\u003cfigure id=\"attachment_11691470\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691470\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg\" alt=\"Muralists at work in Clarion Alley.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Muralists at work in Clarion Alley. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1992, Clarion Alley has been the site of more than 700 murals, many created by Bay Area and international artists known for their street art and activism. Now, thanks to CAMP’s thorough documentation efforts, viewers can visit the alley remotely, traveling through time to see, among other eye-catching works, Alicia McCarthy’s 1998 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/where-the-rainbow-meets-the-better-end/\" target=\"_blank\" rel=\"noopener\">Where the Bitter End Meets the Rainbow\u003c/a>\u003c/i>, Aaron Noble and Rigo 23’s 2000 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/superhero-warehouse/\" target=\"_blank\" rel=\"noopener\">Superhero Warehouse\u003c/a>\u003c/i> and Mel C. Waters’ more recent \u003ca href=\"http://clarionalleymuralproject.org/mural/rest-in-purple/\" target=\"_blank\" rel=\"noopener\">homage to Prince\u003c/a>.\u003c/p>\n\u003cp>The documentation also captures CAMP’s overarching themes of education, resistance and community celebration. The Dope Project’s 2013 mural \u003ci>Narcania VS Death\u003c/i> offers a comic book-style narrative of drug overdose prevention. In a 2014 response to the \u003ca href=\"https://www.youtube.com/watch?v=awPVY1DcupE\" target=\"_blank\" rel=\"noopener\">Mission Playground soccer field confrontation\u003c/a>, Ivy Jeanne McClelland painted the powerful \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/this-city-is-not-for-sale/\" target=\"_blank\" rel=\"noopener\">This City is Not For Sale\u003c/a>\u003c/i>. Installed this year, D8’s stark \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/white-men-cant-police-imagination/\" target=\"_blank\" rel=\"noopener\">Because White Men Can’t Police Their Imagination\u003c/a>\u003c/i> and José V. Guerra Awe’s \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/rise-in-power/\" target=\"_blank\" rel=\"noopener\">Rise in Power\u003c/a>\u003c/i> condemn the nationwide epidemic of POC deaths in “officer involved” shootings.\u003c/p>\n\u003cfigure id=\"attachment_11691469\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg\" alt=\"Celebrating CAMP's 22nd anniversary in 2014.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Celebrating CAMP’s 22nd anniversary in 2014. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clarion Alley has long been a stopping point on walking tours of the Mission and a frequent draw for locals and tourists alike. CAMP estimates over 200,000 people visit the corridor each year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of CAMP’s efforts — furthered by the new website — include educating the public and those who would seek to use the alley’s murals as backdrops for commercial gain, about the often hard-to-grasp fact that the murals are not “free for the taking” simply because they exist on the street. CAMP oversees the reproduction of its artists’ murals in films, books, on clothing and in commercial photographs through \u003ca href=\"http://clarionalleymuralproject.org/about/mural-faq-licensing-film-video-photography/\" target=\"_blank\" rel=\"noopener\">licensing agreements\u003c/a>, the fees going to both CAMP and the artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While CAMP’s new website demonstrates a long and colorful history, the project is nowhere near complete. A \u003ca href=\"http://clarionalleymuralproject.org/mural/new-mural-rigo-23/\" target=\"_blank\" rel=\"noopener\">Rigo 23 mural from 2012\u003c/a> captures the spirit of the project succinctly: “Building a better future is a full-life job.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-four years after its founding, the Mission’s Clarion Alley Mural Project (CAMP), a community-based arts space occupying the walls along a 560-foot-long alley between 17th and 18th Streets and Mission and Valencia Streets in San Francisco’s Mission district, \u003ca href=\"http://clarionalleymuralproject.org/\" target=\"_blank\" rel=\"noopener\">unveiled its first website\u003c/a> on Wednesday.\u003c/p>\n\u003cp>The launch of the comprehensive online archive comes with the news of CAMP’s decision to become a nonprofit organization to better support artists’ intellectual property rights and disseminate the social and political messages of the alley’s murals.\u003c/p>\n\u003cfigure id=\"attachment_11691470\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691470\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg\" alt=\"Muralists at work in Clarion Alley.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Muralists at work in Clarion Alley. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1992, Clarion Alley has been the site of more than 700 murals, many created by Bay Area and international artists known for their street art and activism. Now, thanks to CAMP’s thorough documentation efforts, viewers can visit the alley remotely, traveling through time to see, among other eye-catching works, Alicia McCarthy’s 1998 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/where-the-rainbow-meets-the-better-end/\" target=\"_blank\" rel=\"noopener\">Where the Bitter End Meets the Rainbow\u003c/a>\u003c/i>, Aaron Noble and Rigo 23’s 2000 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/superhero-warehouse/\" target=\"_blank\" rel=\"noopener\">Superhero Warehouse\u003c/a>\u003c/i> and Mel C. Waters’ more recent \u003ca href=\"http://clarionalleymuralproject.org/mural/rest-in-purple/\" target=\"_blank\" rel=\"noopener\">homage to Prince\u003c/a>.\u003c/p>\n\u003cp>The documentation also captures CAMP’s overarching themes of education, resistance and community celebration. The Dope Project’s 2013 mural \u003ci>Narcania VS Death\u003c/i> offers a comic book-style narrative of drug overdose prevention. In a 2014 response to the \u003ca href=\"https://www.youtube.com/watch?v=awPVY1DcupE\" target=\"_blank\" rel=\"noopener\">Mission Playground soccer field confrontation\u003c/a>, Ivy Jeanne McClelland painted the powerful \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/this-city-is-not-for-sale/\" target=\"_blank\" rel=\"noopener\">This City is Not For Sale\u003c/a>\u003c/i>. Installed this year, D8’s stark \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/white-men-cant-police-imagination/\" target=\"_blank\" rel=\"noopener\">Because White Men Can’t Police Their Imagination\u003c/a>\u003c/i> and José V. Guerra Awe’s \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/rise-in-power/\" target=\"_blank\" rel=\"noopener\">Rise in Power\u003c/a>\u003c/i> condemn the nationwide epidemic of POC deaths in “officer involved” shootings.\u003c/p>\n\u003cfigure id=\"attachment_11691469\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg\" alt=\"Celebrating CAMP's 22nd anniversary in 2014.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Celebrating CAMP’s 22nd anniversary in 2014. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clarion Alley has long been a stopping point on walking tours of the Mission and a frequent draw for locals and tourists alike. CAMP estimates over 200,000 people visit the corridor each year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of CAMP’s efforts — furthered by the new website — include educating the public and those who would seek to use the alley’s murals as backdrops for commercial gain, about the often hard-to-grasp fact that the murals are not “free for the taking” simply because they exist on the street. CAMP oversees the reproduction of its artists’ murals in films, books, on clothing and in commercial photographs through \u003ca href=\"http://clarionalleymuralproject.org/about/mural-faq-licensing-film-video-photography/\" target=\"_blank\" rel=\"noopener\">licensing agreements\u003c/a>, the fees going to both CAMP and the artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While CAMP’s new website demonstrates a long and colorful history, the project is nowhere near complete. A \u003ca href=\"http://clarionalleymuralproject.org/mural/new-mural-rigo-23/\" target=\"_blank\" rel=\"noopener\">Rigo 23 mural from 2012\u003c/a> captures the spirit of the project succinctly: “Building a better future is a full-life job.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Santa Cruz Art Show Redefines \"Open Studios\" by Putting Artists on Display",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>This summer, the \u003ca href=\"https://santacruzmah.org/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Museum of Art & History\u003c/a> ventures into new territory — by putting the artists themselves on display. In so doing, the show \u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">Art Works\u003c/a> gives a whole new meaning to the concept of “open studios.”\u003c/p>\n\u003cp>The first thing that strikes you when you walk into the museum’s Solari Gallery is an open, wood-framed artist studio within the gallery, where \u003ca href=\"https://www.facebook.com/huamengy\" target=\"_blank\" rel=\"noopener\">Hua Meng Yu\u003c/a>, who prefers to go by her artist moniker “Miss Tanq,” is giving Bob Russo of Soquel a Yi Jing reading.\u003c/p>\n\u003cp>“Bob, I’d like you to think of an area of your life that you would like some more clarity on,” Miss Tanq says to Russo. Russo “asks the cards” to provide him with some sense of direction for his personal goals and focus. He has an eight-year-old daughter, he says, and Miss Tanq understands that to mean his home life is especially important to him right now.\u003c/p>\n\u003cp>Based on this interaction, the artist picks out one of her handmade masks, puts it on Russo, and snaps a photograph of him. Called “Grandmother,” it’s the face of an old Chinese woman ringed with faux white fur. The mask suits Russo perfectly.\u003c/p>\n\u003cfigure id=\"attachment_11679678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg\" alt='Bob Russo of Soquel wears the \"Grandmother\" mask after his Yi Jing reading about the importance of family in his life.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Russo of Soquel wears the “Grandmother” mask after his Yi Jing reading revealed the importance of family in his life. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mask comes to life only when somebody puts it on,” Miss Tanq says. “It is actually made to be embodied.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This entire encounter is not the kind of thing you expect to find at an art museum. And that’s the idea.\u003c/p>\n\u003cp>“I think people expect to find an institution dedicated to art objects,” says curator Wes Modes. “I think they expect to find things on the wall. We want to pull the walls off of that experience. So that you can look inside, see the artist behind that to see the art process that happens. And then step into that process and take part in making art.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/269065290″ 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>All of the artists in this exhibition have come up with different ways to provide audience members with deep insights into their process, using everything from Yi Jing to music.\u003c/p>\n\u003cp>\u003ca href=\"http://nanciamaka.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Nanci Amaka\u003c/a> is a conceptual artist born and raised in Nigeria, who makes print and textile sculptures in response to conversations about trauma and memory. There are several stations in Amaka’s open studio at the exhibition. For those people comfortable with the idea, the artist creates bright orange prints of their scars while they tell her the story behind the scars.\u003c/p>\n\u003cfigure id=\"attachment_11679601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg\" alt=\"Nanci Amaka paints over Whitney Campbell's scar involving an ill advised sip from a glass milk bottle when he was two. She presses a piece of paper over it, and voilà- a print. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nanci Amaka paints over Whitney Campbell’s scar involving an accident with a glass milk bottle when he was two. She presses a piece of paper over it, and voilà — a print. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, other visitors to Amaka’s studio might prefer to sit in solitary fashion at a desk and write down stories about their scars. Then the artist tucks the texts into soft, fabric sculptures that she hangs up in the gallery.\u003c/p>\n\u003cp>Amaka explains she intends to change the way people think about the experiences that created the scars. “These things are about moments in our lives that were traumatic and owning them,” Amaka says.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg\" alt='\"These things are about moments in our lives that were traumatic,\" says Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can \"own\" the scar.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“These things are about moments in our lives that were traumatic,” says artist Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can “own” the scar. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think scars are yucky. But Amaka says many people feel\u003cbr>\nproud of them. “They love them!” the artist says. 63-year-old Lucy Kemnitzer of Santa Cruz cetrainly feels that way about her scars. She’s gone to the hospital many times over the years, and sees each surgery scar as evidence of a victory over everything from childbirth to breast cancer.\u003c/p>\n\u003cp>“From the cesarean scar that saved me and my son up to the most recent one, which is a lumpectomy scar, all of the scars I got either saved my life or they’re enhancing my life,” Kemnitzer says, pointing to a map she drew of her body.\u003c/p>\n\u003cp>The exhibition is also constantly changing, as none of the artists in Art Works are there the whole time. You never know what you’ll be asked to do when you walk in. The only certain thing: it’s not enough to observe from a distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Art Works continues through Sunday, Sep. 25. More information \u003cstrong>\u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>This summer, the \u003ca href=\"https://santacruzmah.org/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Museum of Art & History\u003c/a> ventures into new territory — by putting the artists themselves on display. In so doing, the show \u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">Art Works\u003c/a> gives a whole new meaning to the concept of “open studios.”\u003c/p>\n\u003cp>The first thing that strikes you when you walk into the museum’s Solari Gallery is an open, wood-framed artist studio within the gallery, where \u003ca href=\"https://www.facebook.com/huamengy\" target=\"_blank\" rel=\"noopener\">Hua Meng Yu\u003c/a>, who prefers to go by her artist moniker “Miss Tanq,” is giving Bob Russo of Soquel a Yi Jing reading.\u003c/p>\n\u003cp>“Bob, I’d like you to think of an area of your life that you would like some more clarity on,” Miss Tanq says to Russo. Russo “asks the cards” to provide him with some sense of direction for his personal goals and focus. He has an eight-year-old daughter, he says, and Miss Tanq understands that to mean his home life is especially important to him right now.\u003c/p>\n\u003cp>Based on this interaction, the artist picks out one of her handmade masks, puts it on Russo, and snaps a photograph of him. Called “Grandmother,” it’s the face of an old Chinese woman ringed with faux white fur. The mask suits Russo perfectly.\u003c/p>\n\u003cfigure id=\"attachment_11679678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg\" alt='Bob Russo of Soquel wears the \"Grandmother\" mask after his Yi Jing reading about the importance of family in his life.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Russo of Soquel wears the “Grandmother” mask after his Yi Jing reading revealed the importance of family in his life. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mask comes to life only when somebody puts it on,” Miss Tanq says. “It is actually made to be embodied.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This entire encounter is not the kind of thing you expect to find at an art museum. And that’s the idea.\u003c/p>\n\u003cp>“I think people expect to find an institution dedicated to art objects,” says curator Wes Modes. “I think they expect to find things on the wall. We want to pull the walls off of that experience. So that you can look inside, see the artist behind that to see the art process that happens. And then step into that process and take part in making art.”\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/269065290″&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/269065290″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>All of the artists in this exhibition have come up with different ways to provide audience members with deep insights into their process, using everything from Yi Jing to music.\u003c/p>\n\u003cp>\u003ca href=\"http://nanciamaka.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Nanci Amaka\u003c/a> is a conceptual artist born and raised in Nigeria, who makes print and textile sculptures in response to conversations about trauma and memory. There are several stations in Amaka’s open studio at the exhibition. For those people comfortable with the idea, the artist creates bright orange prints of their scars while they tell her the story behind the scars.\u003c/p>\n\u003cfigure id=\"attachment_11679601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg\" alt=\"Nanci Amaka paints over Whitney Campbell's scar involving an ill advised sip from a glass milk bottle when he was two. She presses a piece of paper over it, and voilà- a print. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nanci Amaka paints over Whitney Campbell’s scar involving an accident with a glass milk bottle when he was two. She presses a piece of paper over it, and voilà — a print. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, other visitors to Amaka’s studio might prefer to sit in solitary fashion at a desk and write down stories about their scars. Then the artist tucks the texts into soft, fabric sculptures that she hangs up in the gallery.\u003c/p>\n\u003cp>Amaka explains she intends to change the way people think about the experiences that created the scars. “These things are about moments in our lives that were traumatic and owning them,” Amaka says.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg\" alt='\"These things are about moments in our lives that were traumatic,\" says Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can \"own\" the scar.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“These things are about moments in our lives that were traumatic,” says artist Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can “own” the scar. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think scars are yucky. But Amaka says many people feel\u003cbr>\nproud of them. “They love them!” the artist says. 63-year-old Lucy Kemnitzer of Santa Cruz cetrainly feels that way about her scars. She’s gone to the hospital many times over the years, and sees each surgery scar as evidence of a victory over everything from childbirth to breast cancer.\u003c/p>\n\u003cp>“From the cesarean scar that saved me and my son up to the most recent one, which is a lumpectomy scar, all of the scars I got either saved my life or they’re enhancing my life,” Kemnitzer says, pointing to a map she drew of her body.\u003c/p>\n\u003cp>The exhibition is also constantly changing, as none of the artists in Art Works are there the whole time. You never know what you’ll be asked to do when you walk in. The only certain thing: it’s not enough to observe from a distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Art Works continues through Sunday, Sep. 25. More information \u003cstrong>\u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Woman Pleads Guilty to Defacing Rocks at 7 National Parks",
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"content": "\u003cp>A San Diego woman who painted and drew on natural rock formations at national parks across the West and posted her work on social media pleaded guilty Monday to defacing government property.\u003c/p>\n\u003cp>Casey Nocket, 23, pleaded guilty in federal court in Fresno to seven misdemeanors for her 2014 painting spree at seven national parks, including Yosemite in California and Zion in Utah.\u003c/p>\n\u003cp>She also admitted to defacing rocks at Crater Lake National Park in Oregon and Rocky Mountain National Park in Colorado.\u003c/p>\n\u003cfigure id=\"attachment_10988931\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10988931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg\" alt=\"A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park.\" width=\"800\" height=\"890\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-400x445.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-1180x1312.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-960x1068.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nocket was sentenced to two years' probation and 200 hours of community service. Judge Sheila K. Oberto also banned Nocket from lands administered by the National Park Service, the U.S. Forest Service, the Bureau of Land Management and the Army Corps of Engineers during the period of probation.\u003c/p>\n\u003cp>\"The defendant's defacement of multiple rock formations showed a lack of respect for the law and our shared national treasures,\" acting U.S. Attorney Phillip Talbert said in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nocket posted photos of her various defacements under the Instagram handle \"creepytings,\" which she also used to sign much of her work.\u003c/p>\n\u003cp>News of Nocket’s vandalism in September and October of 2014 quickly appeared on two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\">Calipidder\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\">Reddit\u003c/a>.\u003c/p>\n\u003cp>That led to broad outrage on social media and \u003ca href=\"http://ww2.kqed.org/arts/2014/10/23/berkeley-resident-petitions-authorities-to-punish-park-vandal/\" target=\"_blank\">at least one petition\u003c/a> on Whitehouse.gov requesting that authorities pursue charges and the maximum punishment allowed.\u003c/p>\n\u003cp>The vandalism caused serious cleanup problems. The sandblasting and chemical stripping used to remove paint can cause even more damage to irreplaceable natural features.\u003c/p>\n\u003cfigure id=\"attachment_10988995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/creepytingsface-800x524.jpg\" alt=\"One of Casey Nocket's paintings in Yosemite National Park.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-10988995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Casey Nocket's paintings in Yosemite National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At two national parks, Crater Lake and Death Valley in California, cleanup has yet to be completed nearly two years later. A later hearing will determine how much restitution Nocket must pay to help with the cleanup.\u003c/p>\n\u003cp>A press release from the U.S. Attorney's Office for the Eastern District of California outlined Nocket's damage at the seven parks:\u003c/p>\n\u003cblockquote>\u003cp>\n· Sept. 23, 2014, Death Valley National Park in the Eastern District of California at the summit of Telescope Peak.\u003cbr>\n· Sept. 12, 2014, Rocky Mountain National Park in the District of Colorado\u003cbr>\n· Sept. 13, 2014, Colorado National Monument in the District of Colorado on the Monument Canyon Trail.\u003cbr>\n· Sept. 15, 2014, Canyonlands National Park in the District of Utah on the Neck Spring Trail.\u003cbr>\n· Sept. 17, 2014, Zion National Park in the District of Utah.\u003cbr>\n· Oct. 2, 2014, Yosemite National Park in the Eastern District of California at the beginning of the John Muir Trail.\u003cbr>\n· Oct. 7, 2014, Crater Lake National Park in the District of Oregon.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post includes reporting from The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A San Diego woman who painted and drew on natural rock formations at national parks across the West and posted her work on social media pleaded guilty Monday to defacing government property.\u003c/p>\n\u003cp>Casey Nocket, 23, pleaded guilty in federal court in Fresno to seven misdemeanors for her 2014 painting spree at seven national parks, including Yosemite in California and Zion in Utah.\u003c/p>\n\u003cp>She also admitted to defacing rocks at Crater Lake National Park in Oregon and Rocky Mountain National Park in Colorado.\u003c/p>\n\u003cfigure id=\"attachment_10988931\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10988931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg\" alt=\"A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park.\" width=\"800\" height=\"890\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-400x445.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-1180x1312.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-960x1068.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nocket was sentenced to two years' probation and 200 hours of community service. Judge Sheila K. Oberto also banned Nocket from lands administered by the National Park Service, the U.S. Forest Service, the Bureau of Land Management and the Army Corps of Engineers during the period of probation.\u003c/p>\n\u003cp>\"The defendant's defacement of multiple rock formations showed a lack of respect for the law and our shared national treasures,\" acting U.S. Attorney Phillip Talbert said in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nocket posted photos of her various defacements under the Instagram handle \"creepytings,\" which she also used to sign much of her work.\u003c/p>\n\u003cp>News of Nocket’s vandalism in September and October of 2014 quickly appeared on two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\">Calipidder\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\">Reddit\u003c/a>.\u003c/p>\n\u003cp>That led to broad outrage on social media and \u003ca href=\"http://ww2.kqed.org/arts/2014/10/23/berkeley-resident-petitions-authorities-to-punish-park-vandal/\" target=\"_blank\">at least one petition\u003c/a> on Whitehouse.gov requesting that authorities pursue charges and the maximum punishment allowed.\u003c/p>\n\u003cp>The vandalism caused serious cleanup problems. The sandblasting and chemical stripping used to remove paint can cause even more damage to irreplaceable natural features.\u003c/p>\n\u003cfigure id=\"attachment_10988995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/creepytingsface-800x524.jpg\" alt=\"One of Casey Nocket's paintings in Yosemite National Park.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-10988995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Casey Nocket's paintings in Yosemite National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At two national parks, Crater Lake and Death Valley in California, cleanup has yet to be completed nearly two years later. A later hearing will determine how much restitution Nocket must pay to help with the cleanup.\u003c/p>\n\u003cp>A press release from the U.S. Attorney's Office for the Eastern District of California outlined Nocket's damage at the seven parks:\u003c/p>\n\u003cblockquote>\u003cp>\n· Sept. 23, 2014, Death Valley National Park in the Eastern District of California at the summit of Telescope Peak.\u003cbr>\n· Sept. 12, 2014, Rocky Mountain National Park in the District of Colorado\u003cbr>\n· Sept. 13, 2014, Colorado National Monument in the District of Colorado on the Monument Canyon Trail.\u003cbr>\n· Sept. 15, 2014, Canyonlands National Park in the District of Utah on the Neck Spring Trail.\u003cbr>\n· Sept. 17, 2014, Zion National Park in the District of Utah.\u003cbr>\n· Oct. 2, 2014, Yosemite National Park in the Eastern District of California at the beginning of the John Muir Trail.\u003cbr>\n· Oct. 7, 2014, Crater Lake National Park in the District of Oregon.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post includes reporting from The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are two statements that you will probably never hear in regards to Grateful Dead guitarist Bob Weir:\u003c/p>\n\u003cp>1. He doesn’t know how to play guitar, and\u003cbr>\n2. He’s afraid to speak his mind.\u003c/p>\n\u003cp>Weir proved this out this weekend when he and Dead and Company, the newest version of the Grateful Dead that features three original Dead members and John Mayer, headlined the main stage at Bonnaroo, the long-running jam band festival held in Manchester, Tenn.\u003c/p>\n\u003cp>At the end of their two-part set laden with solos and good vibes, and bereft of songs with gun references, the 68-year-old Bay Area legend ripped into two politicians who had recently made offensive comments about the LGBTQ community. The concert was held the day after a massacre in Orlando, Florida, where a man opened fire in a gay night club, \u003ca href=\"http://ww2.kqed.org/news/2016/06/13/orlando-sees-worst-mass-shooting-on-u-s-soil-what-we-know-monday\" target=\"_blank\" rel=\"noopener\">killing 49 patrons and injuring 53 others\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/will.lundberg/videos/10153755908898403/\u003c/p>\n\u003cblockquote>\u003cp>“If you got gay friends, tell them “Sorry about what happened today.” You know, it’s funny — the Lt. Governor of Texas and a distinguished representative in the house from Georgia… Well, that guy last week was reading quotes from the bible saying how gay people deserved to die. And today, after the incident down in Florida, the Lt. Governor tweeted that, well, “They’re gonna reap what they sow.” I tell you what.\u003c/p>\n\u003cp>I want to ask you a question: Is there a difference between that mindset and the mindset of the folks in the Taliban or ISIS? The hatred and intolerance is the same. They may pull it from different books, but it’s the same f**king thing.\u003c/p>\n\u003cp>Register and vote. Get those a**holes out of there.\u003c/p>\u003c/blockquote>\n\u003cp>Earlier same night, Weir accepted the first ever Les Paul Spirit award, which is given to musicians who “exemplify the spirit of Paul through innovation, engineering, technology and music.” Weir called the iconic guitar maker Paul his hero when he accepted the award. The artist continued to show his spirit by giving remarks that were similar to the statement he’d make later that night, but \u003ca href=\"http://www.billboard.com/articles/news/7401308/grateful-deads-bob-weir-believers-in-homophobia-and-isis-share-the-same-hatred\" target=\"_blank\" rel=\"noopener\">without all the expletives\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who might be shocked by Weir’s salty words, you should know that he’s usually \u003ca href=\"https://www.youtube.com/watch?v=toNbwulQt3g\" target=\"_blank\" rel=\"noopener\">much more blunt when he’s mad\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two statements that you will probably never hear in regards to Grateful Dead guitarist Bob Weir:\u003c/p>\n\u003cp>1. He doesn’t know how to play guitar, and\u003cbr>\n2. He’s afraid to speak his mind.\u003c/p>\n\u003cp>Weir proved this out this weekend when he and Dead and Company, the newest version of the Grateful Dead that features three original Dead members and John Mayer, headlined the main stage at Bonnaroo, the long-running jam band festival held in Manchester, Tenn.\u003c/p>\n\u003cp>At the end of their two-part set laden with solos and good vibes, and bereft of songs with gun references, the 68-year-old Bay Area legend ripped into two politicians who had recently made offensive comments about the LGBTQ community. The concert was held the day after a massacre in Orlando, Florida, where a man opened fire in a gay night club, \u003ca href=\"http://ww2.kqed.org/news/2016/06/13/orlando-sees-worst-mass-shooting-on-u-s-soil-what-we-know-monday\" target=\"_blank\" rel=\"noopener\">killing 49 patrons and injuring 53 others\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/will.lundberg/videos/10153755908898403/\u003c/p>\n\u003cblockquote>\u003cp>“If you got gay friends, tell them “Sorry about what happened today.” You know, it’s funny — the Lt. Governor of Texas and a distinguished representative in the house from Georgia… Well, that guy last week was reading quotes from the bible saying how gay people deserved to die. And today, after the incident down in Florida, the Lt. Governor tweeted that, well, “They’re gonna reap what they sow.” I tell you what.\u003c/p>\n\u003cp>I want to ask you a question: Is there a difference between that mindset and the mindset of the folks in the Taliban or ISIS? The hatred and intolerance is the same. They may pull it from different books, but it’s the same f**king thing.\u003c/p>\n\u003cp>Register and vote. Get those a**holes out of there.\u003c/p>\u003c/blockquote>\n\u003cp>Earlier same night, Weir accepted the first ever Les Paul Spirit award, which is given to musicians who “exemplify the spirit of Paul through innovation, engineering, technology and music.” Weir called the iconic guitar maker Paul his hero when he accepted the award. The artist continued to show his spirit by giving remarks that were similar to the statement he’d make later that night, but \u003ca href=\"http://www.billboard.com/articles/news/7401308/grateful-deads-bob-weir-believers-in-homophobia-and-isis-share-the-same-hatred\" target=\"_blank\" rel=\"noopener\">without all the expletives\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who might be shocked by Weir’s salty words, you should know that he’s usually \u003ca href=\"https://www.youtube.com/watch?v=toNbwulQt3g\" target=\"_blank\" rel=\"noopener\">much more blunt when he’s mad\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>My wife’s the reason anything gets done\u003c/em>\u003c/p>\n\u003cp>\u003cem>She nudges me towards promise, by degrees\u003c/em>\u003c/p>\n\u003cp>\u003cem>She is the perfect symphony of one\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our son is her most beautiful reprise\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "hamilton-wins-11-tonys-but-fails-to-break-record",
"title": "'Hamilton' Wins 11 Tonys but Fails to Break Record",
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"headTitle": "‘Hamilton’ Wins 11 Tonys but Fails to Break Record | KQED",
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"content": "\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton, won the 2016 Tony Award for best new musical, capping an emotional night in which many in the Broadway community rallied to embrace the LGBT community after a shooting at a gay Florida nightclub.\u003c/p>\n\u003cp>Lin-Manuel Miranda’s musical biography about the first U.S. treasury secretary won 11 Tonys, just short of breaking the 12-Tony record held by \u003cem>The Producers\u003c/em>.\u003c/p>\n\u003cp>Jeffrey Seller, producer of \u003cem>Hamilton\u003c/em>, quoted the show’s lyrics when accepting the best musical crown. “Look around, look around. How lucky we are to be alive right now,” he said.\u003c/p>\n\u003cp>Broadway’s boast of being more diverse than the Oscars was proved, with black actors winning four awards in the acting categories — a history-making sweep of the musical categories — and whites winning the remaining four for plays.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> went into the night with 16 nominations and, in addition to taking the musical award, won best score, best book, direction, orchestration, choreography and best featured actor and actress statuettes for Renee Elise Goldsberry and Daveed Diggs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Watch Oakland’s own Daveed Diggs discuss winning his first Tony award:\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BMjmo3QUaw\u003c/p>\n\u003cp>Leslie Odom Jr., who plays Aaron Burr, won best actor in a musical and cheered Miranda for “a new vision of what’s possible.” He also thanked his wife, actress Nicolette Robinson and his parents.\u003c/p>\n\u003cp>The show earlier won awards for costume and lighting but lost scenic design to \u003cem>She Loves Me\u003c/em>, meaning \u003cem>Hamilton\u003c/em> couldn’t break the record haul by \u003cem>The Producers\u003c/em>. Still, few shows get introduced by a sitting president, as Barack and Michelle Obama did for the performance by the show’s cast.\u003c/p>\n\u003cp>The awards show unspooled with a heavy heart a night after a gunman killed 50 people at a gay Florida nightclub, prompting a Broadway tribute to the victims at the top of the show and a smattering of references to tolerance throughout it.\u003c/p>\n\u003cp>Host James Corden dedicated the night to celebrating the diversity of Broadway. “Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle,” he said.\u003c/p>\n\u003cp>Barbra Streisand returned to the Tony stage for the first time in 46 years and acknowledged the killings. “Tonight our joy is tinged with sorrow but we’re here to celebrate Broadway and the beauty that artistry can bring into this world.” Art, she said, can “at times like these console us.”\u003c/p>\n\u003cp>But for much of the telecast, the mood was light and typical of an awards show.\u003c/p>\n\u003cp>Miranda, the star and creator of \u003cem>Hamilton\u003c/em>, won for best score and book, and during one of his trips to the stage, he read from a sonnet, referencing tragedy and urging “love and love and love….”\u003c/p>\n\u003cp>Thomas Kail won the Tony for directing \u003cem>Hamilton\u003c/em>. He thanked Miranda, a frequent collaborator, and celebrated the diversity of Broadway this season. “Let’s continue to tell stories,” he said.\u003c/p>\n\u003cp>British actress Cynthia Erivo won the best actress award for her Broadway debut in “The Color Purple.” She thanked her cast for “making me a stronger woman on that stage.” Her show, which failed to beat “Jersey Boys” for the best musical Tony Award in 2006, won the best musical revival award in 2016.\u003c/p>\n\u003cp>\u003cem>The Humans\u003c/em>, about a fractious family’s get-together,” was the second most decorated show with four awards, including best new play. Playwright Stephen Karam dedicated his award to all the struggling writers. “Keep the faith,” he said.\u003c/p>\n\u003cp>The play also earned wins to two mainstays of the New York stage — Jayne Houdyshell and her stage husband, Reed Birney. Both won for featured roles.\u003c/p>\n\u003cp>Not all shows had reason to smile. \u003cem>Shuffle Along\u003c/em>, the musical that explores a groundbreaking 95-year-old show, failed to win a single award, although it entered the night with 10 nominations. \u003cem>Eclipsed\u003c/em> and \u003cem>She Loves Me\u003c/em> each won only one statuette; \u003cem>Waitress\u003c/em> went home empty-handed.\u003c/p>\n\u003cp>In response to the shooting Sunday that left at least 50 people dead in a crowded nightclub in Orlando, Florida, “Hamilton” dropped its use of muskets in its performance. Many stars also wore a silver ribbon to show solidarity.\u003c/p>\n\u003cp>The shooting was close to home for Christopher Fitzgerald, who was nominated for his role in \u003cem>Waitress\u003c/em> and went to school in Orlando. “I’m heartbroken. I think everybody is feeling it, so we are at least all coming together to celebrate and not live in fear,” he said on the carpet.\u003c/p>\n\u003cp>Jessica Lange won her first Tony for playing a drug-addled mother in the revival of the monumental \u003cem>Long Day’s Journey Into Night\u003c/em>. The two-time Academy Award winner said: “This is a dream come true and it fills me with such happiness, even on such a sad day as this.”\u003c/p>\n\u003cp>Frank Langella won his fourth Tony for playing a man who has begun his slide into dementia in \u003cem>The Father\u003c/em>. He almost teared up when he mentioned his brother’s struggle with dementia. He also had a message for the people of Orlando: “We will be with you every step of the way.”\u003c/p>\n\u003cp>Dutch visionary Ivo Van Hove won his first Tony for directing an imaginative revival of Arthur Miller’s \u003cem>A View from the Bridge\u003c/em>. Under his helm, the barefoot cast warily circled one another under bright lights in a set that resembled a boxing ring. The show was also named best play revival.\u003c/p>\n\u003cp>The show opened with the cast of \u003cem>Hamilton\u003c/em> performing their opening number with the lyrics altered to have them all wondering why Corden — “chatting with Hollywood phonies” — had earned the honor of hosting the show.\u003c/p>\n\u003cp>The \u003cem>The Late Late Show\u003c/em> host had some quips for the theater-loving audience: “This is like the Super Bowl for people who don’t know what the Super Bowl is,” he said at one point. He later flirted with Oprah Winfrey.\u003c/p>\n\u003cp>Donald Trump was a frequent target. Nathan Lane made a crack about Trump University and Emilio Estefan insisted that his all-Latin cast for “On Your Feet!” were all in the U.S. legally. Corden at one point suggested there were so many diverse performers on the show that the Republican candidate would want to put a wall around the theater. There was also a joke about Trump starring in “The Book of Moron.” To be fair, Glenn Close mocked Hillary Clinton in the fictional show “A Clinton Line.”\u003c/p>\n\u003cp>“Hamilton” and the 38 new productions this season helped Broadway’s attendance figures hit a record high, up 1.6 percent to 13.3 million ticket buyers. The season also was rich in diversity among actors: Fourteen of the 40 Tony nominees for acting in plays and musicals — or 35 percent — were actors of color.\u003c/p>\n\u003cp>The best musical Tony caps a stunning year for \u003cem>Hamilton\u003c/em> that includes Miranda winning the 2016 Pulitzer Prize for drama, a Grammy, the Edward M. Kennedy Prize for Drama Inspired by American History and a MacArthur Foundation “genius” grant.\u003c/p>\n\u003cp>Tony producers will hope its presence on the telecast will stem a three-year slide in viewership. Last year’s telecast — hosted by Alan Cumming and Kristin Chenoweth — was watched by a mere 6.35 million viewers. In 2014, it reached 7.02 million and captured 7.24 million in 2013.\u003c/p>\n\u003cp>\u003ci>Here’s the list of nominees, with the winners highlighted:\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Best Musical\u003c/strong>\u003cbr>\n\u003cem>Bright Star\u003cbr>\n\u003cstrong>Hamilton\u003c/strong>\u003cbr>\nSchool of Rock\u003cbr>\nShuffle Along\u003cbr>\nWaitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Play\u003c/strong>\u003cbr>\n\u003cem>Eclipsed\u003cbr>\nThe Father\u003cbr>\n\u003cstrong>The Humans\u003c/strong>\u003cbr>\nKing Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Musical\u003c/strong>\u003cbr>\nLaura Benanti, \u003cem>She Loves Me\u003c/em>\u003cbr>\nCarmen Cusack, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Cynthia Erivo, \u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\nJessie Mueller, \u003cem>Waitress\u003c/em>\u003cbr>\nPhillipa Soo, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Musical\u003c/strong>\u003cbr>\nAlex Brightman, \u003cem>School of Rock\u003c/em>\u003cbr>\nDanny Burnstein, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nZachary Levi, \u003cem>She Loves Me\u003c/em>\u003cbr>\nLin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003cbr>\n\u003cstrong>Leslie Odom, Jr., \u003cem>Hamilton\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Jessica Lange, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/strong>\u003cbr>\nLaurie Metcalfe, \u003cem>Misery\u003c/em>\u003cbr>\nLupita Nyong’o, \u003cem>Eclipsed\u003c/em>\u003cbr>\nSophie Okonedo, \u003cem>The Crucible\u003c/em>\u003cbr>\nMichelle Williams, \u003cem>Blackbird\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Play\u003c/strong>\u003cbr>\nGabriel Byrne, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJeff Daniels, \u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cstrong>Frank Langella, \u003cem>The Father\u003c/em>\u003c/strong>\u003cbr>\nTim Pigott Smith, \u003cem>King Charles III\u003c/em>\u003cbr>\nMark Strong, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003cbr>\nMichael Arden, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJohn Doyle, \u003cem>The Color Purple\u003c/em>\u003cbr>\nScott Ellis, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Thomas Kail, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Play\u003c/strong>\u003cbr>\nRupert Gold, \u003cem>King Charles III\u003c/em>\u003cbr>\nJonathan Kent, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJoe Mantello, \u003cem>The Humans\u003c/em>\u003cbr>\nLiesl Tommy, \u003cem>Eclipsed\u003c/em>\u003cbr>\n\u003cstrong>Ivo Van Hove, \u003cem>A View from the Bridge\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Play\u003c/strong>\u003cbr>\nPascale Armand, \u003cem>Eclipsed\u003c/em>\u003cbr>\nMegan Hilty, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Jayne Houdyshell, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nAndrea Martin, \u003cem>Noises Off\u003c/em>\u003cbr>\nSaycon Sengbloh, \u003cem>Eclipsed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Daveed Diggs, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nBrandon Victor Dixon, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nChristopher Fitzgerald, \u003cem>Waitress\u003c/em>\u003cbr>\nJonathan Groff, \u003cem>Hamilton\u003c/em>\u003cbr>\nChristopher Jackson, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Musical\u003c/strong>\u003cbr>\nDanielle Brooks, \u003cem>The Color Purple\u003c/em>\u003cbr>\n\u003cstrong>Renee Elise Goldsberry, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJane Krakowski, \u003cem>She Loves Me\u003c/em>\u003cbr>\nJennifer Simard, \u003cem>Disaster!\u003c/em>\u003cbr>\nAdrienne Warren, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Reed Birney, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nBill Camp, \u003cem>The Crucible\u003c/em>\u003cbr>\nDavid Furr, \u003cem>Noises Off\u003c/em>\u003cbr>\nRichard Goulding, \u003cem>King Charles III\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Play\u003c/strong>\u003cbr>\n\u003cem>The Crucible\u003c/em>\u003cbr>\n\u003cstrong>\u003cem>A View From the Bridge\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cem>Long Days Journey into Night\u003c/em>\u003cbr>\n\u003cem>Noises Off\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\n\u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cem>Spring Awakening\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Book of a Musical\u003c/strong>\u003cbr>\nSteve Martin, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJulian Fellowes, \u003cem>School of Rock\u003c/em>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nBest Choreography\u003c/strong>\u003cbr>\n\u003cstrong>Andy Blankenbuehler, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nSavion Glover, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nHofesh Shechter, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nRandy Skinner, \u003cem>Dames at Sea\u003c/em>\u003cbr>\nSergio Trujillo, \u003cem>On Your Feet\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Original Score\u003c/strong>\u003cbr>\nSteve Martin, Edie Brickell, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGlenn Sltater, Andrew Lloyd Webber, \u003cem>School of Rock\u003c/em>\u003cbr>\nSara Bareilles, \u003cem>Waitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Orchestrations\u003c/strong>\u003cbr>\nAugust Eriksmoen, \u003cem>Bright Star\u003c/em>\u003cbr>\nLarry Hochman, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Alex Lacamoire, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nDaryl Waters, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Scenic Design of a Musical\u003c/strong>\u003cbr>\nEs Devlin & Finn Ross, \u003cem>American Psycho\u003c/em>\u003cbr>\nDavid Korins, \u003cem>Hamilton\u003c/em>\u003cbr>\nSanto Loquasto, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>David Rockwell, \u003cem>She Loves Me\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Scenic Design of a Play\u003c/strong>\u003cbr>\nBeowulf Boritt, \u003cem>Thérèse Raquin\u003c/em>\u003cbr>\nChristopher Oram, \u003cem>Hughie\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003cbr>\n\u003cstrong>David Zinn, \u003cem>The Humans\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Costume Design of a Musical\u003c/strong>\u003cbr>\nGregg Barnes, \u003cem>Tuck Everlasting\u003c/em>\u003cbr>\nJeff Mahshie, \u003cem>She Loves Me\u003c/em>\u003cbr>\nAnn Roth, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nPaul Tazewell, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Costume Design of a Play\u003c/strong>\u003cbr>\nJane Greenwood, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nMichael Krass, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Clint Ramos, \u003cem>Eclipsed\u003c/em>\u003c/strong>\u003cbr>\nTom Scutt, \u003cem>King Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Lighting Design of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Howell Binkley, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJules Fisher and Peggy Eisenhauer, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nBen Stanton, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>American Psycho\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Lighting Design of a Play\u003c/strong>\u003cbr>\nNatasha Katz, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>The Humans\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>The Crucible\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Julie Walker, Jocelyn Noveck, John Carucci and Leanne Italie in New York contributed to this report.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"excerpt": "The musical biography about one of the nation's followers was one Tony short of beating the record set by 'The Producers' ",
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"title": "'Hamilton' Wins 11 Tonys but Fails to Break Record | KQED",
"description": "The musical biography about one of the nation's followers was one Tony short of beating the record set by 'The Producers' ",
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"headline": "'Hamilton' Wins 11 Tonys but Fails to Break Record",
"datePublished": "2016-06-13T13:40:17-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton, won the 2016 Tony Award for best new musical, capping an emotional night in which many in the Broadway community rallied to embrace the LGBT community after a shooting at a gay Florida nightclub.\u003c/p>\n\u003cp>Lin-Manuel Miranda’s musical biography about the first U.S. treasury secretary won 11 Tonys, just short of breaking the 12-Tony record held by \u003cem>The Producers\u003c/em>.\u003c/p>\n\u003cp>Jeffrey Seller, producer of \u003cem>Hamilton\u003c/em>, quoted the show’s lyrics when accepting the best musical crown. “Look around, look around. How lucky we are to be alive right now,” he said.\u003c/p>\n\u003cp>Broadway’s boast of being more diverse than the Oscars was proved, with black actors winning four awards in the acting categories — a history-making sweep of the musical categories — and whites winning the remaining four for plays.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> went into the night with 16 nominations and, in addition to taking the musical award, won best score, best book, direction, orchestration, choreography and best featured actor and actress statuettes for Renee Elise Goldsberry and Daveed Diggs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch Oakland’s own Daveed Diggs discuss winning his first Tony award:\u003c/i>\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/_BMjmo3QUaw'\n title='//www.youtube.com/embed/_BMjmo3QUaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Leslie Odom Jr., who plays Aaron Burr, won best actor in a musical and cheered Miranda for “a new vision of what’s possible.” He also thanked his wife, actress Nicolette Robinson and his parents.\u003c/p>\n\u003cp>The show earlier won awards for costume and lighting but lost scenic design to \u003cem>She Loves Me\u003c/em>, meaning \u003cem>Hamilton\u003c/em> couldn’t break the record haul by \u003cem>The Producers\u003c/em>. Still, few shows get introduced by a sitting president, as Barack and Michelle Obama did for the performance by the show’s cast.\u003c/p>\n\u003cp>The awards show unspooled with a heavy heart a night after a gunman killed 50 people at a gay Florida nightclub, prompting a Broadway tribute to the victims at the top of the show and a smattering of references to tolerance throughout it.\u003c/p>\n\u003cp>Host James Corden dedicated the night to celebrating the diversity of Broadway. “Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle,” he said.\u003c/p>\n\u003cp>Barbra Streisand returned to the Tony stage for the first time in 46 years and acknowledged the killings. “Tonight our joy is tinged with sorrow but we’re here to celebrate Broadway and the beauty that artistry can bring into this world.” Art, she said, can “at times like these console us.”\u003c/p>\n\u003cp>But for much of the telecast, the mood was light and typical of an awards show.\u003c/p>\n\u003cp>Miranda, the star and creator of \u003cem>Hamilton\u003c/em>, won for best score and book, and during one of his trips to the stage, he read from a sonnet, referencing tragedy and urging “love and love and love….”\u003c/p>\n\u003cp>Thomas Kail won the Tony for directing \u003cem>Hamilton\u003c/em>. He thanked Miranda, a frequent collaborator, and celebrated the diversity of Broadway this season. “Let’s continue to tell stories,” he said.\u003c/p>\n\u003cp>British actress Cynthia Erivo won the best actress award for her Broadway debut in “The Color Purple.” She thanked her cast for “making me a stronger woman on that stage.” Her show, which failed to beat “Jersey Boys” for the best musical Tony Award in 2006, won the best musical revival award in 2016.\u003c/p>\n\u003cp>\u003cem>The Humans\u003c/em>, about a fractious family’s get-together,” was the second most decorated show with four awards, including best new play. Playwright Stephen Karam dedicated his award to all the struggling writers. “Keep the faith,” he said.\u003c/p>\n\u003cp>The play also earned wins to two mainstays of the New York stage — Jayne Houdyshell and her stage husband, Reed Birney. Both won for featured roles.\u003c/p>\n\u003cp>Not all shows had reason to smile. \u003cem>Shuffle Along\u003c/em>, the musical that explores a groundbreaking 95-year-old show, failed to win a single award, although it entered the night with 10 nominations. \u003cem>Eclipsed\u003c/em> and \u003cem>She Loves Me\u003c/em> each won only one statuette; \u003cem>Waitress\u003c/em> went home empty-handed.\u003c/p>\n\u003cp>In response to the shooting Sunday that left at least 50 people dead in a crowded nightclub in Orlando, Florida, “Hamilton” dropped its use of muskets in its performance. Many stars also wore a silver ribbon to show solidarity.\u003c/p>\n\u003cp>The shooting was close to home for Christopher Fitzgerald, who was nominated for his role in \u003cem>Waitress\u003c/em> and went to school in Orlando. “I’m heartbroken. I think everybody is feeling it, so we are at least all coming together to celebrate and not live in fear,” he said on the carpet.\u003c/p>\n\u003cp>Jessica Lange won her first Tony for playing a drug-addled mother in the revival of the monumental \u003cem>Long Day’s Journey Into Night\u003c/em>. The two-time Academy Award winner said: “This is a dream come true and it fills me with such happiness, even on such a sad day as this.”\u003c/p>\n\u003cp>Frank Langella won his fourth Tony for playing a man who has begun his slide into dementia in \u003cem>The Father\u003c/em>. He almost teared up when he mentioned his brother’s struggle with dementia. He also had a message for the people of Orlando: “We will be with you every step of the way.”\u003c/p>\n\u003cp>Dutch visionary Ivo Van Hove won his first Tony for directing an imaginative revival of Arthur Miller’s \u003cem>A View from the Bridge\u003c/em>. Under his helm, the barefoot cast warily circled one another under bright lights in a set that resembled a boxing ring. The show was also named best play revival.\u003c/p>\n\u003cp>The show opened with the cast of \u003cem>Hamilton\u003c/em> performing their opening number with the lyrics altered to have them all wondering why Corden — “chatting with Hollywood phonies” — had earned the honor of hosting the show.\u003c/p>\n\u003cp>The \u003cem>The Late Late Show\u003c/em> host had some quips for the theater-loving audience: “This is like the Super Bowl for people who don’t know what the Super Bowl is,” he said at one point. He later flirted with Oprah Winfrey.\u003c/p>\n\u003cp>Donald Trump was a frequent target. Nathan Lane made a crack about Trump University and Emilio Estefan insisted that his all-Latin cast for “On Your Feet!” were all in the U.S. legally. Corden at one point suggested there were so many diverse performers on the show that the Republican candidate would want to put a wall around the theater. There was also a joke about Trump starring in “The Book of Moron.” To be fair, Glenn Close mocked Hillary Clinton in the fictional show “A Clinton Line.”\u003c/p>\n\u003cp>“Hamilton” and the 38 new productions this season helped Broadway’s attendance figures hit a record high, up 1.6 percent to 13.3 million ticket buyers. The season also was rich in diversity among actors: Fourteen of the 40 Tony nominees for acting in plays and musicals — or 35 percent — were actors of color.\u003c/p>\n\u003cp>The best musical Tony caps a stunning year for \u003cem>Hamilton\u003c/em> that includes Miranda winning the 2016 Pulitzer Prize for drama, a Grammy, the Edward M. Kennedy Prize for Drama Inspired by American History and a MacArthur Foundation “genius” grant.\u003c/p>\n\u003cp>Tony producers will hope its presence on the telecast will stem a three-year slide in viewership. Last year’s telecast — hosted by Alan Cumming and Kristin Chenoweth — was watched by a mere 6.35 million viewers. In 2014, it reached 7.02 million and captured 7.24 million in 2013.\u003c/p>\n\u003cp>\u003ci>Here’s the list of nominees, with the winners highlighted:\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Best Musical\u003c/strong>\u003cbr>\n\u003cem>Bright Star\u003cbr>\n\u003cstrong>Hamilton\u003c/strong>\u003cbr>\nSchool of Rock\u003cbr>\nShuffle Along\u003cbr>\nWaitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Play\u003c/strong>\u003cbr>\n\u003cem>Eclipsed\u003cbr>\nThe Father\u003cbr>\n\u003cstrong>The Humans\u003c/strong>\u003cbr>\nKing Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Musical\u003c/strong>\u003cbr>\nLaura Benanti, \u003cem>She Loves Me\u003c/em>\u003cbr>\nCarmen Cusack, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Cynthia Erivo, \u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\nJessie Mueller, \u003cem>Waitress\u003c/em>\u003cbr>\nPhillipa Soo, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Musical\u003c/strong>\u003cbr>\nAlex Brightman, \u003cem>School of Rock\u003c/em>\u003cbr>\nDanny Burnstein, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nZachary Levi, \u003cem>She Loves Me\u003c/em>\u003cbr>\nLin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003cbr>\n\u003cstrong>Leslie Odom, Jr., \u003cem>Hamilton\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Jessica Lange, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/strong>\u003cbr>\nLaurie Metcalfe, \u003cem>Misery\u003c/em>\u003cbr>\nLupita Nyong’o, \u003cem>Eclipsed\u003c/em>\u003cbr>\nSophie Okonedo, \u003cem>The Crucible\u003c/em>\u003cbr>\nMichelle Williams, \u003cem>Blackbird\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Play\u003c/strong>\u003cbr>\nGabriel Byrne, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJeff Daniels, \u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cstrong>Frank Langella, \u003cem>The Father\u003c/em>\u003c/strong>\u003cbr>\nTim Pigott Smith, \u003cem>King Charles III\u003c/em>\u003cbr>\nMark Strong, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003cbr>\nMichael Arden, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJohn Doyle, \u003cem>The Color Purple\u003c/em>\u003cbr>\nScott Ellis, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Thomas Kail, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Play\u003c/strong>\u003cbr>\nRupert Gold, \u003cem>King Charles III\u003c/em>\u003cbr>\nJonathan Kent, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJoe Mantello, \u003cem>The Humans\u003c/em>\u003cbr>\nLiesl Tommy, \u003cem>Eclipsed\u003c/em>\u003cbr>\n\u003cstrong>Ivo Van Hove, \u003cem>A View from the Bridge\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Play\u003c/strong>\u003cbr>\nPascale Armand, \u003cem>Eclipsed\u003c/em>\u003cbr>\nMegan Hilty, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Jayne Houdyshell, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nAndrea Martin, \u003cem>Noises Off\u003c/em>\u003cbr>\nSaycon Sengbloh, \u003cem>Eclipsed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Daveed Diggs, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nBrandon Victor Dixon, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nChristopher Fitzgerald, \u003cem>Waitress\u003c/em>\u003cbr>\nJonathan Groff, \u003cem>Hamilton\u003c/em>\u003cbr>\nChristopher Jackson, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Musical\u003c/strong>\u003cbr>\nDanielle Brooks, \u003cem>The Color Purple\u003c/em>\u003cbr>\n\u003cstrong>Renee Elise Goldsberry, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJane Krakowski, \u003cem>She Loves Me\u003c/em>\u003cbr>\nJennifer Simard, \u003cem>Disaster!\u003c/em>\u003cbr>\nAdrienne Warren, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Reed Birney, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nBill Camp, \u003cem>The Crucible\u003c/em>\u003cbr>\nDavid Furr, \u003cem>Noises Off\u003c/em>\u003cbr>\nRichard Goulding, \u003cem>King Charles III\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Play\u003c/strong>\u003cbr>\n\u003cem>The Crucible\u003c/em>\u003cbr>\n\u003cstrong>\u003cem>A View From the Bridge\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cem>Long Days Journey into Night\u003c/em>\u003cbr>\n\u003cem>Noises Off\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\n\u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cem>Spring Awakening\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Book of a Musical\u003c/strong>\u003cbr>\nSteve Martin, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJulian Fellowes, \u003cem>School of Rock\u003c/em>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nBest Choreography\u003c/strong>\u003cbr>\n\u003cstrong>Andy Blankenbuehler, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nSavion Glover, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nHofesh Shechter, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nRandy Skinner, \u003cem>Dames at Sea\u003c/em>\u003cbr>\nSergio Trujillo, \u003cem>On Your Feet\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Original Score\u003c/strong>\u003cbr>\nSteve Martin, Edie Brickell, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGlenn Sltater, Andrew Lloyd Webber, \u003cem>School of Rock\u003c/em>\u003cbr>\nSara Bareilles, \u003cem>Waitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Orchestrations\u003c/strong>\u003cbr>\nAugust Eriksmoen, \u003cem>Bright Star\u003c/em>\u003cbr>\nLarry Hochman, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Alex Lacamoire, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nDaryl Waters, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Scenic Design of a Musical\u003c/strong>\u003cbr>\nEs Devlin & Finn Ross, \u003cem>American Psycho\u003c/em>\u003cbr>\nDavid Korins, \u003cem>Hamilton\u003c/em>\u003cbr>\nSanto Loquasto, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>David Rockwell, \u003cem>She Loves Me\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Scenic Design of a Play\u003c/strong>\u003cbr>\nBeowulf Boritt, \u003cem>Thérèse Raquin\u003c/em>\u003cbr>\nChristopher Oram, \u003cem>Hughie\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003cbr>\n\u003cstrong>David Zinn, \u003cem>The Humans\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Costume Design of a Musical\u003c/strong>\u003cbr>\nGregg Barnes, \u003cem>Tuck Everlasting\u003c/em>\u003cbr>\nJeff Mahshie, \u003cem>She Loves Me\u003c/em>\u003cbr>\nAnn Roth, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nPaul Tazewell, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Costume Design of a Play\u003c/strong>\u003cbr>\nJane Greenwood, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nMichael Krass, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Clint Ramos, \u003cem>Eclipsed\u003c/em>\u003c/strong>\u003cbr>\nTom Scutt, \u003cem>King Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Lighting Design of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Howell Binkley, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJules Fisher and Peggy Eisenhauer, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nBen Stanton, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>American Psycho\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Lighting Design of a Play\u003c/strong>\u003cbr>\nNatasha Katz, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>The Humans\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>The Crucible\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Julie Walker, Jocelyn Noveck, John Carucci and Leanne Italie in New York contributed to this report.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'Threshold Choir' Brings Songs of Comfort to the Dying",
"title": "'Threshold Choir' Brings Songs of Comfort to the Dying",
"headTitle": "State of Health | KQED News",
"content": "\u003cp>Three women climb the stairs of a beautiful Victorian in San Francisco. They hold nothing in their hands, but they bring a precious gift. These women are members of the Threshold Choir, and the home they are visiting is the Zen Hospice Project. They sing to people at the last threshold of life, and today, when they reach the second floor, they find Luca Sager, a 38-year-old chef with terminal brain cancer.\u003c/p>\n\u003cp>Sager’s hands, tattooed with a salt and pepper shakers, rest on the top of his covers as he listens as the women sing, a cappella:\u003c/p>\n\u003cp>\u003cem>You are not alone\u003cbr>\nI am here now\u003cbr>\nWe are not alone\u003cbr>\nWe are here together\u003c/em>\u003c/p>\n\u003cp>Sager speaks slowly through medication and pain. He says peace fills him when the women sing. “It feels like a good time for me to gather my feelings about gratitude and being calm and appreciation. I just smile a lot.”\u003c/p>\n\u003cp>Kate Munger founded the Threshold Choir in Marin County and the East Bay 16 years ago. She says it grew out of her own experience of sitting with a friend of who was dying of AIDS back in the '90s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was very distressing to see him comatose and agitated,” Munger recalls. “I did what I did at the time when I was nervous or afraid, and I started singing -- instinctively.”\u003c/p>\n\u003cp>She says her friend “calmed, settled and got positively serene,” and her own feelings mirrored those of her dying friend. “I felt like I had discovered, or rediscovered, something -- an ancient practice that tribal humans do for one another when someone’s struggling.”\u003c/p>\n\u003cfigure id=\"attachment_196124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196124 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg\" alt=\"Threshold Choir_Web 2\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luca Sager, 38, who is terminally ill with brain cancer, listens to the Threshold Choir. They are \"an act of care,\" he says. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://thresholdchoir.org\" target=\"_blank\">Threshold Choir\u003c/a> has spread since then -- across North America and to other countries. It is devoted to lifting others up, to creating a place for reflection, especially for people who may be outside the traditional reaches of religion. The singers speak of the healing quality of music and the power of the human voice to soothe and to make beautiful the process of dying, which is so often accompanied by great fear.\u003c/p>\n\u003cp>Choir singer Katharine Rose Kirner says she knows what it is like to lie powerless in bed facing the fear of death. In 2001, as the country was reeling from the 9/11 attacks, Kirner faced a different kind of threat, a brain tumor the size of a grapefruit. She says she was gripped by fear of death and feelings she had not done what she needed to do in her life. She vowed to do something “important” if she recuperated.\u003c/p>\n\u003cp>When she did eventually heal, she learned of the Threshold Choir and became a devoted member singing at least once a week. She says being part of the choir has given her a chance to see how gentle dying can be.\u003c/p>\n\u003cp>“Most of us think of death as an event, but it’s a process,\" she says. \"That gave me great comfort.” Watching the process has moved her to think of what she wants at her own death, something she says she would not have contemplated without being in the choir. \"I would have sat in the fear.”\u003c/p>\n\u003cfigure id=\"attachment_196122\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196122 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg\" alt=\"Threshold Choir__Web 3\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Munger, founder of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Peggy Cadbury, a retired nurse, saw a fair amount of death while working in hospital settings. But as a member of the choir, she has the chance to tend to the dying with a different intention. \u003c/p>\n\u003cp>“When you're nursing at the bedside of somebody who is dying, you're constantly concerned about their physical wellbeing, their pain level, ” Cadbury says. But as a member of the choir, “I can just be there to hold space for that person in the room and create an environment of comfort and caring.”\u003c/p>\n\u003cp>Munger says the harmonies are particularly powerful in creating a sense of calm and wellbeing. “It’s a visceral experience. It’s not just the ears; it's full body absorption of vibration.”\u003c/p>\n\u003cp>Cadbury says singing quietly and softly the simple songs written by choir members is much like singing a lullaby to a child. \u003c/p>\n\u003cp>“It is like a gentle caress, and it feels right,” she says.\u003c/p>\n\u003cp>Sager, the patient, says the singing not only helps bring him emotional calm, but it also reduces the physical pain he has in his head around the tumor.\u003c/p>\n\u003cp>Research suggests that listening to live music can help reduce pain in palliative care patients. A \u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/23017609\" target=\"_blank\">2012 study\u003c/a> found that patients found that patients who had the harp played to them for 20 minutes -- along with breathing exercises and visualization -- reported a significant decrease in pain compared to a control group.\u003c/p>\n\u003cp>Registered nurse and certified music therapist Kathy Jo Gutgsell at University Hospitals in Cleveland was lead author of the study. She believes music “may awaken the body’s own endorphins\" -- those much-chased-after chemicals that make us feel better about the world.\u003c/p>\n\u003cp>The human brain \"doesn’t multitask very well,\" she explains. \"When we are paying attention to the music, we can't pay attention to the pain.” \u003c/p>\n\u003cp>Gutgsell says music is tied to memories and can connect us to times of great joy and sadness. “I think humans are hardwired for music. Some people think we were singing before we were speaking back at the beginning of humanity.”\u003c/p>\n\u003cp>The Threshold Choir singers say they, too, are helped by the act of singing together and for a person in need. “You see them calm, and then you calm, and it’s a reciprocal thing,” Cadbury says.\u003c/p>\n\u003cp>Kirner says singing in the choir is one of the best things in her life. “I get a sense of purpose.” Choir singers may benefit in other ways. A growing body of research finds that people who take part in choral singing have a better sense of wellbeing than those who don’t sing.\u003c/p>\n\u003cfigure id=\"attachment_196125\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196125 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg\" alt=\"Threshold Choir_Web 1-1\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Peggy Cadbury, Katharine Rose Kirner and Karen Mooney, members of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The research suggests that singing itself can raise levels of oxytocin, the hormone associated with trust and bonding. So people who sing in chorus may feel a strong bond with those they sing with together. Right now in San Francisco, a\u003ca href=\"http://ww2.kqed.org/stateofhealth/2013/08/20/in-san-francisco-seniors-are-singing-for-science/\" target=\"_blank\"> five-year study is underway\u003c/a> looking at both the possible physical and emotional benefits of choral singing for seniors.\u003c/p>\n\u003cp>Munger says songs are “ethereal, evanescent, and mysterious” and she believes they can serve as a bridge “from the purely physical, temporal, body experience ... to what lies beyond.”\u003c/p>\n\u003cp>As for Cadbury, she says watching others die has helped her frame her daily life and what she hopes for her death. “Singing at the bedside of people who are dying has helped me appreciate being alive, has made more feel more alive and more into being the moment and enjoy life. I hope that when I am on the threshold someone will come and sing to me these beautiful, peaceful songs of comfort.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sager, the patient, says he believes as human beings our purpose in life is to be givers however we can. He says he did that as a chef, serving homemade nourishing food. He says he is proud of the Threshold Choir for offering their songs as a gift, “to receive that gift is an act of love and support, an act of care, which is what I need most in my life right now.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three women climb the stairs of a beautiful Victorian in San Francisco. They hold nothing in their hands, but they bring a precious gift. These women are members of the Threshold Choir, and the home they are visiting is the Zen Hospice Project. They sing to people at the last threshold of life, and today, when they reach the second floor, they find Luca Sager, a 38-year-old chef with terminal brain cancer.\u003c/p>\n\u003cp>Sager’s hands, tattooed with a salt and pepper shakers, rest on the top of his covers as he listens as the women sing, a cappella:\u003c/p>\n\u003cp>\u003cem>You are not alone\u003cbr>\nI am here now\u003cbr>\nWe are not alone\u003cbr>\nWe are here together\u003c/em>\u003c/p>\n\u003cp>Sager speaks slowly through medication and pain. He says peace fills him when the women sing. “It feels like a good time for me to gather my feelings about gratitude and being calm and appreciation. I just smile a lot.”\u003c/p>\n\u003cp>Kate Munger founded the Threshold Choir in Marin County and the East Bay 16 years ago. She says it grew out of her own experience of sitting with a friend of who was dying of AIDS back in the '90s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was very distressing to see him comatose and agitated,” Munger recalls. “I did what I did at the time when I was nervous or afraid, and I started singing -- instinctively.”\u003c/p>\n\u003cp>She says her friend “calmed, settled and got positively serene,” and her own feelings mirrored those of her dying friend. “I felt like I had discovered, or rediscovered, something -- an ancient practice that tribal humans do for one another when someone’s struggling.”\u003c/p>\n\u003cfigure id=\"attachment_196124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196124 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg\" alt=\"Threshold Choir_Web 2\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luca Sager, 38, who is terminally ill with brain cancer, listens to the Threshold Choir. They are \"an act of care,\" he says. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://thresholdchoir.org\" target=\"_blank\">Threshold Choir\u003c/a> has spread since then -- across North America and to other countries. It is devoted to lifting others up, to creating a place for reflection, especially for people who may be outside the traditional reaches of religion. The singers speak of the healing quality of music and the power of the human voice to soothe and to make beautiful the process of dying, which is so often accompanied by great fear.\u003c/p>\n\u003cp>Choir singer Katharine Rose Kirner says she knows what it is like to lie powerless in bed facing the fear of death. In 2001, as the country was reeling from the 9/11 attacks, Kirner faced a different kind of threat, a brain tumor the size of a grapefruit. She says she was gripped by fear of death and feelings she had not done what she needed to do in her life. She vowed to do something “important” if she recuperated.\u003c/p>\n\u003cp>When she did eventually heal, she learned of the Threshold Choir and became a devoted member singing at least once a week. She says being part of the choir has given her a chance to see how gentle dying can be.\u003c/p>\n\u003cp>“Most of us think of death as an event, but it’s a process,\" she says. \"That gave me great comfort.” Watching the process has moved her to think of what she wants at her own death, something she says she would not have contemplated without being in the choir. \"I would have sat in the fear.”\u003c/p>\n\u003cfigure id=\"attachment_196122\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196122 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg\" alt=\"Threshold Choir__Web 3\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Munger, founder of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Peggy Cadbury, a retired nurse, saw a fair amount of death while working in hospital settings. But as a member of the choir, she has the chance to tend to the dying with a different intention. \u003c/p>\n\u003cp>“When you're nursing at the bedside of somebody who is dying, you're constantly concerned about their physical wellbeing, their pain level, ” Cadbury says. But as a member of the choir, “I can just be there to hold space for that person in the room and create an environment of comfort and caring.”\u003c/p>\n\u003cp>Munger says the harmonies are particularly powerful in creating a sense of calm and wellbeing. “It’s a visceral experience. It’s not just the ears; it's full body absorption of vibration.”\u003c/p>\n\u003cp>Cadbury says singing quietly and softly the simple songs written by choir members is much like singing a lullaby to a child. \u003c/p>\n\u003cp>“It is like a gentle caress, and it feels right,” she says.\u003c/p>\n\u003cp>Sager, the patient, says the singing not only helps bring him emotional calm, but it also reduces the physical pain he has in his head around the tumor.\u003c/p>\n\u003cp>Research suggests that listening to live music can help reduce pain in palliative care patients. A \u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/23017609\" target=\"_blank\">2012 study\u003c/a> found that patients found that patients who had the harp played to them for 20 minutes -- along with breathing exercises and visualization -- reported a significant decrease in pain compared to a control group.\u003c/p>\n\u003cp>Registered nurse and certified music therapist Kathy Jo Gutgsell at University Hospitals in Cleveland was lead author of the study. She believes music “may awaken the body’s own endorphins\" -- those much-chased-after chemicals that make us feel better about the world.\u003c/p>\n\u003cp>The human brain \"doesn’t multitask very well,\" she explains. \"When we are paying attention to the music, we can't pay attention to the pain.” \u003c/p>\n\u003cp>Gutgsell says music is tied to memories and can connect us to times of great joy and sadness. “I think humans are hardwired for music. Some people think we were singing before we were speaking back at the beginning of humanity.”\u003c/p>\n\u003cp>The Threshold Choir singers say they, too, are helped by the act of singing together and for a person in need. “You see them calm, and then you calm, and it’s a reciprocal thing,” Cadbury says.\u003c/p>\n\u003cp>Kirner says singing in the choir is one of the best things in her life. “I get a sense of purpose.” Choir singers may benefit in other ways. A growing body of research finds that people who take part in choral singing have a better sense of wellbeing than those who don’t sing.\u003c/p>\n\u003cfigure id=\"attachment_196125\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196125 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg\" alt=\"Threshold Choir_Web 1-1\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Peggy Cadbury, Katharine Rose Kirner and Karen Mooney, members of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The research suggests that singing itself can raise levels of oxytocin, the hormone associated with trust and bonding. So people who sing in chorus may feel a strong bond with those they sing with together. Right now in San Francisco, a\u003ca href=\"http://ww2.kqed.org/stateofhealth/2013/08/20/in-san-francisco-seniors-are-singing-for-science/\" target=\"_blank\"> five-year study is underway\u003c/a> looking at both the possible physical and emotional benefits of choral singing for seniors.\u003c/p>\n\u003cp>Munger says songs are “ethereal, evanescent, and mysterious” and she believes they can serve as a bridge “from the purely physical, temporal, body experience ... to what lies beyond.”\u003c/p>\n\u003cp>As for Cadbury, she says watching others die has helped her frame her daily life and what she hopes for her death. “Singing at the bedside of people who are dying has helped me appreciate being alive, has made more feel more alive and more into being the moment and enjoy life. I hope that when I am on the threshold someone will come and sing to me these beautiful, peaceful songs of comfort.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sager, the patient, says he believes as human beings our purpose in life is to be givers however we can. He says he did that as a chef, serving homemade nourishing food. He says he is proud of the Threshold Choir for offering their songs as a gift, “to receive that gift is an act of love and support, an act of care, which is what I need most in my life right now.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sunday morning, we woke to the horrifying news of the worst mass shooting in U.S. history. A shooter, who was, according to his father, full of rage over seeing two men kissing months before, walked into an Orlando gay club with a singular goal: murder as many innocent people as possible. And yet I wasn't surprised to hear about any of it.\u003c/p>\n\u003cp>Americans have come to expect mass shootings. The stories of people murdered in their churches, in movie theaters, on college campuses, in elementary schools stay with us; they cling to us like the NRA and certain politicians cling to the Second Amendment. Not even the senseless deaths of 20 children (aged six and seven) at Sandy Hook Elementary could move the meter on the effort for sensible gun laws in this country. And in all honesty, I don't expect the murder of so many queer people -- many of them Latino -- to make a meaningful impact on the gun debate either; after all, LGBT and Latino communities have been ritually dehumanized by our elected officials and our overall culture since time immemorial.\u003c/p>\n\u003cp>Another reason I wasn't surprised that someone would single out LGBT people for execution is because I move through this world as a gay person. We in the LGBT community rarely feel safe, which is why gay clubs exist in the first place. Even in San Francisco, touted as an LGBT Mecca, we constantly monitor how gay or trans we come across, always on the lookout for a person who might turn the moment into one of confrontation or violence. When my partner goes in for a kiss on the street or in a straight space, sometimes I go with it, but I'm not fully there; a part of my mind is always preoccupied with who's watching and what this might mean for us. Sometimes I pull away.\u003c/p>\n\u003cp>This may come as a surprise to some straight people. After all, the impression is we've come so far, what with nationwide marriage equality and the fun gays on \u003cem>Modern Family\u003c/em> and all that. Progress is often confused with the destination.\u003c/p>\n\u003cp>After the Supreme Court finally put an end to the majority going to the ballot box to decide what rights should be afforded to a minority, a friend of mine congratulated me: \"Now gays are fully equal!\" I responded with something along the lines of \"More equal than before, yes. But no, not fully equal.\" The response: \"Well, what else do you want?\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hmm, let's see. How about if:\u003c/p>\n\u003cul>\n\u003cli>the LGBT community had a constitutional amendment to protect us from discrimination (you know, like gun owners have)?\u003c/li>\n\u003cli>sexually active gay men had been allowed to donate blood yesterday, or ever?\u003c/li>\n\u003cli>LGBT people weren't able to be fired or evicted for being who they are in many states?\u003c/li>\n\u003cli>trans people -- and where they decide to pee -- weren't politicized?\u003c/li>\n\u003cli>queer and trans youth didn't experience such a high rate of homelessness and poverty, many times because they've been kicked out of their homes or abused due to their sexuality or gender expression?\u003c/li>\n\u003cli>trans women of color didn't regularly experience such a high rate of police harassment and violence?\u003c/li>\n\u003cli>LGBT teens felt supported and accepted enough that they didn't feel that suicide was the only solution?\u003c/li>\n\u003cli>certain high schools didn't cancel or hold alternate proms simply because a gay person wants to bring a date?\u003c/li>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/mission-mural-endures-third-act-of-vandalism-in-a-month/\">murals featuring queer love weren't routinely defaced\u003c/a>?\u003c/li>\n\u003cli>LGBT people could simply hold hands with their partners without fear of retribution?\u003c/li>\n\u003c/ul>\n\u003cp>I could go on.\u003c/p>\n\u003cp>The friend I mentioned before, along with many others, might not see this side of things because their eyes aren't open enough or because they live in a bubble or because their LGBT friends have grown weary of talking about the oppression they face on a regular basis.\u003c/p>\n\u003cp>When someone asks me about my weekend, I will usually leave out incidents like when a man with a baby strapped to his chest nudged past me in a parking lot and called me a faggot for no reason or when someone tried to knock me off my bike with her car while shouting \"Faggot!\" from her open window or when someone yelled in my face on my last birthday \"That's how you choose to live your life?!\" while his friends stood there and laughed or when just yesterday, at the vigil march for the Orlando victims, a group of teens stood on the sidelines and mocked us with laughter and cries of \"Tear gas them!\" Again, I could go on.\u003c/p>\n\u003cp>For many straight people, gayness is what they see at Pride, a celebration, but what they fail to realize is that this spectacle of fearless expression is the one time of the year when our community congregates to revel in our truth and honor our perseverance and decide that, for at least today, we won't pull back from kisses or hesitate to speak, that we will dress and be exactly how we wish, that we will bravely stand together, despite the homophobic attitudes and laws that affect us the other 364 days of the year.\u003c/p>\n\u003cp>And even at Pride, there is the threat of violence. Look no further than \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-gay-pride-la-weapons-20160612-snap-story.html\">the man authorities apprehended\u003c/a> in LA over the weekend, who had multiple weapons and planned to attend that city's Pride celebrations. And that's saying nothing of other countries, where the expectation is to be beaten, arrested or worse, for participating in Pride events (or just everyday life).\u003c/p>\n\u003cp>When San Francisco celebrates Pride in a few weeks, there will naturally be an added layer of threat, but we're used to feeling unsafe and deciding to bravely be our fullest and truest selves regardless. We will still show up. We will still laugh and dance and march and kiss because what better response is there to hatred than the resilience of love?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Last night's vigil was a way to say no to hatred and yes to love and unity. Here's what that looked like:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/06/13/thousands-gather-in-san-francisco-for-vigil-in-honor-of-orlando-victims/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday morning, we woke to the horrifying news of the worst mass shooting in U.S. history. A shooter, who was, according to his father, full of rage over seeing two men kissing months before, walked into an Orlando gay club with a singular goal: murder as many innocent people as possible. And yet I wasn't surprised to hear about any of it.\u003c/p>\n\u003cp>Americans have come to expect mass shootings. The stories of people murdered in their churches, in movie theaters, on college campuses, in elementary schools stay with us; they cling to us like the NRA and certain politicians cling to the Second Amendment. Not even the senseless deaths of 20 children (aged six and seven) at Sandy Hook Elementary could move the meter on the effort for sensible gun laws in this country. And in all honesty, I don't expect the murder of so many queer people -- many of them Latino -- to make a meaningful impact on the gun debate either; after all, LGBT and Latino communities have been ritually dehumanized by our elected officials and our overall culture since time immemorial.\u003c/p>\n\u003cp>Another reason I wasn't surprised that someone would single out LGBT people for execution is because I move through this world as a gay person. We in the LGBT community rarely feel safe, which is why gay clubs exist in the first place. Even in San Francisco, touted as an LGBT Mecca, we constantly monitor how gay or trans we come across, always on the lookout for a person who might turn the moment into one of confrontation or violence. When my partner goes in for a kiss on the street or in a straight space, sometimes I go with it, but I'm not fully there; a part of my mind is always preoccupied with who's watching and what this might mean for us. Sometimes I pull away.\u003c/p>\n\u003cp>This may come as a surprise to some straight people. After all, the impression is we've come so far, what with nationwide marriage equality and the fun gays on \u003cem>Modern Family\u003c/em> and all that. Progress is often confused with the destination.\u003c/p>\n\u003cp>After the Supreme Court finally put an end to the majority going to the ballot box to decide what rights should be afforded to a minority, a friend of mine congratulated me: \"Now gays are fully equal!\" I responded with something along the lines of \"More equal than before, yes. But no, not fully equal.\" The response: \"Well, what else do you want?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hmm, let's see. How about if:\u003c/p>\n\u003cul>\n\u003cli>the LGBT community had a constitutional amendment to protect us from discrimination (you know, like gun owners have)?\u003c/li>\n\u003cli>sexually active gay men had been allowed to donate blood yesterday, or ever?\u003c/li>\n\u003cli>LGBT people weren't able to be fired or evicted for being who they are in many states?\u003c/li>\n\u003cli>trans people -- and where they decide to pee -- weren't politicized?\u003c/li>\n\u003cli>queer and trans youth didn't experience such a high rate of homelessness and poverty, many times because they've been kicked out of their homes or abused due to their sexuality or gender expression?\u003c/li>\n\u003cli>trans women of color didn't regularly experience such a high rate of police harassment and violence?\u003c/li>\n\u003cli>LGBT teens felt supported and accepted enough that they didn't feel that suicide was the only solution?\u003c/li>\n\u003cli>certain high schools didn't cancel or hold alternate proms simply because a gay person wants to bring a date?\u003c/li>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/mission-mural-endures-third-act-of-vandalism-in-a-month/\">murals featuring queer love weren't routinely defaced\u003c/a>?\u003c/li>\n\u003cli>LGBT people could simply hold hands with their partners without fear of retribution?\u003c/li>\n\u003c/ul>\n\u003cp>I could go on.\u003c/p>\n\u003cp>The friend I mentioned before, along with many others, might not see this side of things because their eyes aren't open enough or because they live in a bubble or because their LGBT friends have grown weary of talking about the oppression they face on a regular basis.\u003c/p>\n\u003cp>When someone asks me about my weekend, I will usually leave out incidents like when a man with a baby strapped to his chest nudged past me in a parking lot and called me a faggot for no reason or when someone tried to knock me off my bike with her car while shouting \"Faggot!\" from her open window or when someone yelled in my face on my last birthday \"That's how you choose to live your life?!\" while his friends stood there and laughed or when just yesterday, at the vigil march for the Orlando victims, a group of teens stood on the sidelines and mocked us with laughter and cries of \"Tear gas them!\" Again, I could go on.\u003c/p>\n\u003cp>For many straight people, gayness is what they see at Pride, a celebration, but what they fail to realize is that this spectacle of fearless expression is the one time of the year when our community congregates to revel in our truth and honor our perseverance and decide that, for at least today, we won't pull back from kisses or hesitate to speak, that we will dress and be exactly how we wish, that we will bravely stand together, despite the homophobic attitudes and laws that affect us the other 364 days of the year.\u003c/p>\n\u003cp>And even at Pride, there is the threat of violence. Look no further than \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-gay-pride-la-weapons-20160612-snap-story.html\">the man authorities apprehended\u003c/a> in LA over the weekend, who had multiple weapons and planned to attend that city's Pride celebrations. And that's saying nothing of other countries, where the expectation is to be beaten, arrested or worse, for participating in Pride events (or just everyday life).\u003c/p>\n\u003cp>When San Francisco celebrates Pride in a few weeks, there will naturally be an added layer of threat, but we're used to feeling unsafe and deciding to bravely be our fullest and truest selves regardless. We will still show up. We will still laugh and dance and march and kiss because what better response is there to hatred than the resilience of love?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Last night's vigil was a way to say no to hatred and yes to love and unity. Here's what that looked like:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco has a new landmark — a statue almost 100-feet-tall — and the public won’t be seeing it until next year.\u003c/p>\n\u003cp>The 92-foot-tall “Venus” was unveiled to the media Friday behind construction site fences. Now the tallest sculpture in the city, “Venus” is the centerpiece of a large public art collection that will live in the piazza of Trinity Place, a massive 1,900-unit apartment complex being built on 8th Street, between Market and Mission. It’s expected to be completed by March of 2017. \u003c/p>\n\u003cfigure id=\"attachment_11671539\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg\" alt='\"Venus\" and artist Lawrence Argent ' width=\"450\" height=\"600\" class=\"size-medium wp-image-11671539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank.jpg 810w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Venus” and artist Lawrence Argent \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The statue is to be the centerpiece of “C’era Una Volta” (“Once Upon a Time” in Italian), a one-acre public art park described as Trinity Properties founder — and once San Francisco’s biggest landlord — Angelo Sangiacomo’s “lasting gift to his beloved city.” Sangiacomo, who died \u003ca href=\"http://www.sfgate.com/bayarea/article/Angelo-Sangiacomo-one-of-S-F-s-biggest-6684910.php\" target=\"_blank\" rel=\"noopener\">last December at the age of 91\u003c/a>, envisioned a collection of large pieces that reference the aesthetics of canonical works, according to Venus’s creator, \u003ca href=\"http://lawrenceargent.com/\" target=\"_blank\" rel=\"noopener\">artist Lawrence Argent\u003c/a>. For example, “Venus” is Argent’s take on the famous ancient Greek statue commonly referred to as “Venus de Milo.” \u003c/p>\n\u003cp>“Angelo had an innate understanding of materials and the complexities of art,” Argent said. \u003c/p>\n\u003cp>The statue was unveiled on June 10, Sangiacomo’s birthday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sculpture is comprised of several hand-molded stainless steel panels that were brought here in 16 shipping containers from China. It took almost a month to put together the swirling steel statue, which Argent says he intended to look like it was coming out of the ground, “like a genie from a bottle.”\u003c/p>\n\u003cp>Argent, an Australian artist, has designed several \u003ca href=\"http://lawrenceargent.com/bio/\" target=\"_blank\" rel=\"noopener\">public art installations\u003c/a>, including a 56-foot-long steel piece called “Leap” that is hanging in Terminal B of the Sacramento International Airport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Correction:\u003c/b> This story, \u003ca href=\"https://twitter.com/artattrinitysf\" target=\"_blank\" rel=\"noopener\">like many others\u003c/a>, reported that the statue was almost as tall as the Statue of Liberty. The Statue of Liberty is 151 feet tall from its feet to the top of the torch, but it \u003ca href=\"http://www.libertyellisfoundation.org/statue-facts\" target=\"_blank\" rel=\"noopener\">is only 111 feet tall from its feet to the top of its head\u003c/a>. Still, it is not accurate to say the statue is almost as tall as the Statue of Liberty and we apologize.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11671710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg\" alt='Another view of \"Venus\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-11671710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of “Venus” \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has a new landmark — a statue almost 100-feet-tall — and the public won’t be seeing it until next year.\u003c/p>\n\u003cp>The 92-foot-tall “Venus” was unveiled to the media Friday behind construction site fences. Now the tallest sculpture in the city, “Venus” is the centerpiece of a large public art collection that will live in the piazza of Trinity Place, a massive 1,900-unit apartment complex being built on 8th Street, between Market and Mission. It’s expected to be completed by March of 2017. \u003c/p>\n\u003cfigure id=\"attachment_11671539\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg\" alt='\"Venus\" and artist Lawrence Argent ' width=\"450\" height=\"600\" class=\"size-medium wp-image-11671539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank.jpg 810w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Venus” and artist Lawrence Argent \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The statue is to be the centerpiece of “C’era Una Volta” (“Once Upon a Time” in Italian), a one-acre public art park described as Trinity Properties founder — and once San Francisco’s biggest landlord — Angelo Sangiacomo’s “lasting gift to his beloved city.” Sangiacomo, who died \u003ca href=\"http://www.sfgate.com/bayarea/article/Angelo-Sangiacomo-one-of-S-F-s-biggest-6684910.php\" target=\"_blank\" rel=\"noopener\">last December at the age of 91\u003c/a>, envisioned a collection of large pieces that reference the aesthetics of canonical works, according to Venus’s creator, \u003ca href=\"http://lawrenceargent.com/\" target=\"_blank\" rel=\"noopener\">artist Lawrence Argent\u003c/a>. For example, “Venus” is Argent’s take on the famous ancient Greek statue commonly referred to as “Venus de Milo.” \u003c/p>\n\u003cp>“Angelo had an innate understanding of materials and the complexities of art,” Argent said. \u003c/p>\n\u003cp>The statue was unveiled on June 10, Sangiacomo’s birthday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sculpture is comprised of several hand-molded stainless steel panels that were brought here in 16 shipping containers from China. It took almost a month to put together the swirling steel statue, which Argent says he intended to look like it was coming out of the ground, “like a genie from a bottle.”\u003c/p>\n\u003cp>Argent, an Australian artist, has designed several \u003ca href=\"http://lawrenceargent.com/bio/\" target=\"_blank\" rel=\"noopener\">public art installations\u003c/a>, including a 56-foot-long steel piece called “Leap” that is hanging in Terminal B of the Sacramento International Airport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Correction:\u003c/b> This story, \u003ca href=\"https://twitter.com/artattrinitysf\" target=\"_blank\" rel=\"noopener\">like many others\u003c/a>, reported that the statue was almost as tall as the Statue of Liberty. The Statue of Liberty is 151 feet tall from its feet to the top of the torch, but it \u003ca href=\"http://www.libertyellisfoundation.org/statue-facts\" target=\"_blank\" rel=\"noopener\">is only 111 feet tall from its feet to the top of its head\u003c/a>. Still, it is not accurate to say the statue is almost as tall as the Statue of Liberty and we apologize.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11671710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg\" alt='Another view of \"Venus\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-11671710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of “Venus” \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmaker Claims Beyoncé Stole His Ideas to Make 'Lemonade'",
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"content": "\u003cp>A filmmaker has filed a federal lawsuit in New York against Beyoncé alleging ideas from his short film were used to create the trailer that accompanied her new visual album \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>The suit filed Wednesday in Manhattan also names the singer’s management company, Parkwood Entertainment, along with Sony Music Entertainment and Columbia Recording Corp.\u003c/p>\n\u003cp>Matthew Fulks, of Louisville, Kentucky, alleges the producers of Beyoncé’s \u003cem>Lemonade\u003c/em> copied parts of a short film he produced in 2014.\u003c/p>\n\u003cp>Fulks says a senior vice president at Columbia had been sent a link to his film, \u003cem>Palinoia\u003c/em>.\u003c/p>\n\u003cp>He says \u003cem>Lemonade\u003c/em> was produced months later. Fulks alleges the defendants infringed on his copyright because the two films are visually similar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Representatives for Beyoncé and the corporations didn’t immediately respond to requests for comment Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A filmmaker has filed a federal lawsuit in New York against Beyoncé alleging ideas from his short film were used to create the trailer that accompanied her new visual album \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>The suit filed Wednesday in Manhattan also names the singer’s management company, Parkwood Entertainment, along with Sony Music Entertainment and Columbia Recording Corp.\u003c/p>\n\u003cp>Matthew Fulks, of Louisville, Kentucky, alleges the producers of Beyoncé’s \u003cem>Lemonade\u003c/em> copied parts of a short film he produced in 2014.\u003c/p>\n\u003cp>Fulks says a senior vice president at Columbia had been sent a link to his film, \u003cem>Palinoia\u003c/em>.\u003c/p>\n\u003cp>He says \u003cem>Lemonade\u003c/em> was produced months later. Fulks alleges the defendants infringed on his copyright because the two films are visually similar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Representatives for Beyoncé and the corporations didn’t immediately respond to requests for comment Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa",
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"content": "\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11669351,11669350,11669349,11669348,11669345,11669418,11669346,11669347\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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