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"content": "\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the paintings Thiebaud donated this week was “The Unfinished Portrait of Betty Jean,” which features his second wife, filmmaker Betty Jean Carr, who died in December of last year. The painting had never been shown in public before.\u003c/p>\n\u003cp>\u003ci>Watch a short video from UC Davis about Thiebaud’s donation below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/koL6ZBReuJA\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Maps, whether printed or pixelated, are purely utilitarian for most people. But to the \u003ca href=\"http://antievictionmappingproject.net\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, maps are a powerful, immediate way to measure change.\u003c/p>\n\u003cp>The collective’s animated map of \u003ca href=\"http://www.antievictionmappingproject.net/ellis.html\" target=\"_blank\" rel=\"noopener\">Ellis Act evictions\u003c/a> in San Francisco between 1994 and 2014 looks like a time lapse of a city-wide military proving grounds, evictions blooming outward in circular explosions from SOMA, the Mission and — really — everywhere within San Francisco’s 49 square miles. The data-visualization depicts evictions as sites of violence, with rippling aftereffects.\u003c/p>\n\u003cfigure id=\"attachment_11741656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg\" alt=\"Ellis Act Evictions map\" width=\"1200\" height=\"684\" class=\"size-full wp-image-11741656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-960x547.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ellis Act Evictions map \u003ccite>(Courtesy of Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As effective as this type of mapping is in providing a sense of history, scale and geographic trends, the data remain abstract: number of tenants evicted, addresses and dates. But the A(E)MP collective, a shifting group of mostly volunteer housing rights activists, community organizers and artists, doesn’t stop with numbers. Alongside number crunching and data-visualization, they operate a storytelling and qualitative side of their work, collecting \u003ca href=\"http://www.antievictionmappingproject.net/narratives.html\" target=\"_blank\" rel=\"noopener\">narratives of displacement and resistance\u003c/a>.\u003c/p>\n\u003cp>Allowing people to tell their own stories — of changing neighborhoods, fights against eviction, and experiences of homelessness — in their own words, the A(E)MP profiles the differences and similarities between lived experiences in the current Bay Area housing crisis. Close to 100 oral histories, most around 1 hour in length, dot A(E)MP’s narrative map. I dove in for some deep listening with suggestions from Erin McElroy, one of A(E)MP’s founding members.\u003c/p>\n\u003cfigure id=\"attachment_11741660\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Tiye.jpg\" alt=\"Tiye Silon Shepard, interviewed by Caleb Smith\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Tiye Silon Shepard, interviewed by Caleb Smith \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is next-level’\u003c/h3>\n\u003cp>In Caleb Smith’s interview of \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/tiye-silon-shepard\" target=\"_blank\" rel=\"noopener\">Tiye Silon Shepard\u003c/a>, the native San Franciscan compares her childhood in the Mission with her relationship to the swiftly changing neighborhood today. Semi-seriously, Shepard, who is Black, points to the appearance of white joggers near her apartment as “the end.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her outlook on the neighborhood’s future is bleak. “The second they started building condos on Mission Street, we just all need to find a new place to go,” she says. \u003c/p>\n\u003cp>“I like not hearing gunshots outside my window at night,” she says, but change is not categorically good. “Of course neighborhoods change over time, but this is next-level, this is organized, this is purposeful,” she says of the displacement she sees around her.\u003c/p>\n\u003cp>For her, gentrification is a new form of colonization. Instead of violence, she sees the effects as emotional distress. “The folks who for the last 20 years have lived in that neighborhood all come from a colonized background,” she says. “So to have that trauma again hurts on an even deeper level because you always feel like you’re being pushed out of what you’ve tried to make your own.” \u003c/p>\n\u003caside class=\"pullquote alignright\">“People feel politically disenfranchised.” \u003ccite>Caleb Smith\u003c/cite>\u003c/aside>\n\u003cp>Asked about the social and political effects of gentrification on San Francisco, Shepard predicts, “I just think it’s going to turn into a place where it’s gonna be a bunch of people who have no real emotional investment in the city.”\u003c/p>\n\u003cp>Shepard’s interviewer wasn’t surprised by her outlook. Smith just graduated with a degree in politics from University of San Francisco and is spending the summer on a public policy fellowship in Sacramento. “People feel politically disenfranchised,” he says. “There are measures to try and slow gentrification and they don’t even pass. It’s hard to identify anything that could potentially stop it.”\u003c/p>\n\u003cfigure id=\"attachment_11741658\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Mira.jpg\" alt=\"Mira Ingram, interviewed by Zeph Fishlyn\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Mira Ingram, interviewed by Zeph Fishlyn \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is my family and my home and everything’\u003c/h3>\n\u003cp>For \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/mira-ingram\" target=\"_blank\" rel=\"noopener\">Mira Ingram\u003c/a>, who moved to San Francisco when she was 25, the city was always a safe haven, where she could be queer and punk and politically active without fear of retribution. “I’m grateful every day that I’m here,” she says to her interviewer \u003ca href=\"http://zephrocious.com/filter/highlights\" target=\"_blank\" rel=\"noopener\">Zeph Fishlyn\u003c/a>. “I always have some bit of gratitude that I’m at a place where people understand me.”\u003c/p>\n\u003cp>In 1997 Ingram suffered an injury that ultimately caused her to become disabled; she now uses a wheelchair. At almost the same time, she was evicted from her Mission district apartment during the Bay Area’s first tech boom. “It wasn’t a big deal then,” she says of the eviction in retrospect. “It was more of a rare occurrence.” Today? “I would say probably half or more of my close friends have been Ellis Acted out of the city,” she says.\u003c/p>\n\u003cp>The tech buses that transport employees to and from Silicon Valley are more than just symbols of a changing economy and population for Ingram — they’re physical obstacles she can’t surmount in her wheelchair. \u003c/p>\n\u003caside class=\"pullquote alignright\">“It’s a loss of consciousness and awareness.” \u003ccite>Mira Ingram\u003c/cite>\u003c/aside>\n\u003cp>“The city just lets the tech buses operate here, but they don’t pay any attention to how it violates the rights of people with disabilities like me,” she says. When tech buses pull up to curbs, Ingram explains, MUNI buses are often forced to stop in the middle of the street, making it impossible for them to lower their wheelchair ramps. \u003c/p>\n\u003cp>“I can’t tell you how many doctor’s appointments I’ve missed because the tech buses are there,” she says. Beyond this serious inconvenience, she see the buses as emblematic of an even larger problem: “It’s a loss of consciousness and awareness that’s missing too. And that’s really sad.”\u003c/p>\n\u003cp>For now, Ingram’s living situation is stable, but she worries about what might happen if she lost her place in public housing. “I don’t have anywhere else to go,” she says. “This is my family and my home and everything. I’ve got tons of medical problems and this is where I’ve got it all set up.\u003c/p>\n\u003cp>“I would be here, and homeless,” she says, “before I would go somewhere else.” \u003c/p>\n\u003cfigure id=\"attachment_11741661\" class=\"wp-caption aligncenter\" style=\"max-width: 954px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg\" alt=\"Zeph Fishlyn, 'Fabric: Raveling/Unraveling,' 2014. A participatory visual arts project exploring LGBTQI experiences of home.\" width=\"954\" height=\"1005\" class=\"size-full wp-image-11741661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg 954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-400x421.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-570x600.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-768x809.jpg 768w\" sizes=\"(max-width: 954px) 100vw, 954px\">\u003cfigcaption class=\"wp-caption-text\">Zeph Fishlyn, ‘Fabric: Raveling/Unraveling,’ 2014.\u003cbr>A participatory visual arts project exploring LGBTQI experiences of home. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Ingram’s interviewer, Ingram’s story hit very close to home. Fishlyn has been evicted three times in the last four years, helping 35 people move out of their homes in 2012 alone. In addition to Ingram, Fishlyn interviewed about a dozen other subjects as part of \u003ci>Fabric: Raveling/Unraveling\u003c/i>, a visual art project for the 2014 National Queer Arts Festival.\u003c/p>\n\u003cp>“The process of doing the interviews in some ways felt like one of the most powerful pieces of it,” Fishlyn says of their artwork, which brought together multiple stories of displacement to connect those experiences of isolation. “It felt like therapy.”\u003c/p>\n\u003cfigure id=\"attachment_11741655\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Claudia.jpg\" alt=\"Claudia Tirado, interviewed by Manissa Maharawal\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Tirado, interviewed by Manissa Maharawal \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I shouldn’t be doing this’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/claudia-tirado\" target=\"_blank\" rel=\"noopener\">Claudia Tirado\u003c/a> was busy fighting an eviction notice from her landlord (the late Google attorney \u003ca href=\"http://valleywag.gawker.com/protestors-target-home-of-google-exec-accused-of-evicti-1562273315\" target=\"_blank\" rel=\"noopener\">Jack Halprin\u003c/a>) when Manissa Maharawal interviewed her for A(E)MP. A mother and veteran third-grade teacher, Tirado, like Ingram, points to a growing empathy gap in the city. \u003c/p>\n\u003cp>“People don’t understand the difficulty of eviction if they have money,” she says of those who can rely on financial support from family and friends. “I don’t have funds. I’m a self-raised person.”\u003c/p>\n\u003cp>Tirado wants San Francisco to retain its spirit of acceptance and celebration of diversity. “We all have to respect each other and our differences. That’s what makes San Francisco awesome,” she says. Different worlds — and different classes — can and should coexist in the city. \u003c/p>\n\u003cp>“We have a right to live here \u003ci>and\u003c/i> to work here,” she adds. “There’s nothing wrong with being a janitor, a teacher, a bus driver, a taxi driver or a maid. What’s wrong is the lack of humanity and respect that we get.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“I just feel like a mother protecting her baby.” \u003ccite>Claudia Tirado\u003c/cite>\u003c/aside>\n\u003cp>The eviction was a threat not just to Tirado’s home, but to her relationship with her son’s father and to her own emotional well-being. When Maharawal asks if the community organizing around Tirado’s eviction is empowering, she says, “I don’t feel empowered at all. I still feel like it’s a stronger force than I can rally up energy to fight sometimes.”\u003c/p>\n\u003cp>“I feel like…” she says before she trails off. Her voice breaks with emotion. “I just feel like a mother protecting her baby.\u003c/p>\n\u003cp>“All this energy that I should be putting into my child and my classroom, I have to put into fighting [Halprin]. I shouldn’t be doing this.”\u003c/p>\n\u003cp>Maharawal, who has an \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/manissa-clip\" target=\"_blank\" rel=\"noopener\">oral history of her own\u003c/a> on the A(E)MP page, says their two-hour interview was “a deeply personal and intense experience.”\u003c/p>\n\u003cp>“Claudia told me that the interview was cathartic for her,” she says, citing the oral history project’s overarching goals. “Eviction is a destabilizing and alienating process. The interviews aim to create space for solidarity, support and reflection.”\u003c/p>\n\u003cfigure id=\"attachment_11741657\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Michael.jpg\" alt=\"Michael Rouppet, interviewed by Manon Vergerio\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Michael Rouppet, interviewed by Manon Vergerio \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘That was me’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/michael-rouppet\" target=\"_blank\" rel=\"noopener\">Michael Rouppet\u003c/a>, an HIV positive man who was homeless for nearly a year after being evicted from his Alamo Square apartment, now volunteers with the \u003ca href=\"http://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, providing services and resources to the city’s most disenfranchised people. \u003c/p>\n\u003cp>Locked out of his apartment with just his dog, one satchel and the clothes on his back, Rouppet is still trying to find out what happened to all of his possessions. “I’d like to know and I’ve been asking the court for two years, where are my things?” he says. “My wedding ring, my family photos, my mother’s recipes, not just my clothes and my underwear and my medication. My grandmother’s silver set. I’d like to know where these things are.”\u003c/p>\n\u003cp>On the street, Rouppet suffered debilitating cellulitis. It was other homeless people who took care of him. “The humanity that homeless people show each other, they taught me so much,” he says. \u003c/p>\n\u003caside class=\"pullquote alignright\">“He’s setting the example we should all live by.” \u003ccite>Vince Crisostomo\u003c/cite>\u003c/aside>\n\u003cp>Rouppet says volunteering with the SF AIDS Foundation helped him find his bearings. Vince Crisostomo, manager of the foundation’s \u003ca href=\"http://sfaf.org/client-services/50-plus/?referrer=http://sfaf.org/hiv-info/hot-topics/from-the-experts/whats-new-with-50-plus.html\" target=\"_blank\" rel=\"noopener\">50-Plus Network\u003c/a>, interjects in the recording. “When Michael talks about volunteering, it goes so far beyond that,” he says. “It just makes me cry thinking about it.” \u003c/p>\n\u003cp>When out in the field working with the city’s homeless population, Crisostomo explains, Rouppet always reaches out to even the most isolated individuals, saying, “That was me.” \u003c/p>\n\u003cp>“He’s setting the example we should all live by,” Crisostomo says. “We should remember that that could be us.”\u003c/p>\n\u003cfigure id=\"attachment_11741668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Screen-Shot-2016-06-26-at-2.09.41-PM-e1467004823386.png\" alt=\"Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories.\" width=\"1200\" height=\"669\" class=\"size-full wp-image-11741668\">\u003cfigcaption class=\"wp-caption-text\">Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories. \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While A(E)MP’s maps, murals and community events make visible the connections between global capital, real estate, high tech and the local political economy, what emerges from the oral history project are the effects of these entanglements on the city’s most vulnerable individuals. To listen to someone’s story, told plainly and honestly, is to momentarily inhabit their world, their struggles and goals. Empathy, a quality so many of the oral history interviewees wish to see more of in San Francisco, is the inevitable result. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When Rouppet’s interviewer Manon Vergerio asks what newcomers to the Bay Area could do to better understand each other, and the homeless population more specifically, he says, “Talk to them. Rather than speaking for a population that doesn’t have representation, talk to them.”\u003c/p>\n\n",
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"excerpt": "The Anti-Eviction Mapping Project provides more than just numbers in its ongoing quest to make visible the effects of our current Bay Area tech boom. ",
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"title": "‘We Have a Right to Live Here’: Stories from San Francisco’s Evicted | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maps, whether printed or pixelated, are purely utilitarian for most people. But to the \u003ca href=\"http://antievictionmappingproject.net\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, maps are a powerful, immediate way to measure change.\u003c/p>\n\u003cp>The collective’s animated map of \u003ca href=\"http://www.antievictionmappingproject.net/ellis.html\" target=\"_blank\" rel=\"noopener\">Ellis Act evictions\u003c/a> in San Francisco between 1994 and 2014 looks like a time lapse of a city-wide military proving grounds, evictions blooming outward in circular explosions from SOMA, the Mission and — really — everywhere within San Francisco’s 49 square miles. The data-visualization depicts evictions as sites of violence, with rippling aftereffects.\u003c/p>\n\u003cfigure id=\"attachment_11741656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg\" alt=\"Ellis Act Evictions map\" width=\"1200\" height=\"684\" class=\"size-full wp-image-11741656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/EllisActEvictions-960x547.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ellis Act Evictions map \u003ccite>(Courtesy of Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As effective as this type of mapping is in providing a sense of history, scale and geographic trends, the data remain abstract: number of tenants evicted, addresses and dates. But the A(E)MP collective, a shifting group of mostly volunteer housing rights activists, community organizers and artists, doesn’t stop with numbers. Alongside number crunching and data-visualization, they operate a storytelling and qualitative side of their work, collecting \u003ca href=\"http://www.antievictionmappingproject.net/narratives.html\" target=\"_blank\" rel=\"noopener\">narratives of displacement and resistance\u003c/a>.\u003c/p>\n\u003cp>Allowing people to tell their own stories — of changing neighborhoods, fights against eviction, and experiences of homelessness — in their own words, the A(E)MP profiles the differences and similarities between lived experiences in the current Bay Area housing crisis. Close to 100 oral histories, most around 1 hour in length, dot A(E)MP’s narrative map. I dove in for some deep listening with suggestions from Erin McElroy, one of A(E)MP’s founding members.\u003c/p>\n\u003cfigure id=\"attachment_11741660\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Tiye.jpg\" alt=\"Tiye Silon Shepard, interviewed by Caleb Smith\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Tiye-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Tiye Silon Shepard, interviewed by Caleb Smith \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is next-level’\u003c/h3>\n\u003cp>In Caleb Smith’s interview of \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/tiye-silon-shepard\" target=\"_blank\" rel=\"noopener\">Tiye Silon Shepard\u003c/a>, the native San Franciscan compares her childhood in the Mission with her relationship to the swiftly changing neighborhood today. Semi-seriously, Shepard, who is Black, points to the appearance of white joggers near her apartment as “the end.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her outlook on the neighborhood’s future is bleak. “The second they started building condos on Mission Street, we just all need to find a new place to go,” she says. \u003c/p>\n\u003cp>“I like not hearing gunshots outside my window at night,” she says, but change is not categorically good. “Of course neighborhoods change over time, but this is next-level, this is organized, this is purposeful,” she says of the displacement she sees around her.\u003c/p>\n\u003cp>For her, gentrification is a new form of colonization. Instead of violence, she sees the effects as emotional distress. “The folks who for the last 20 years have lived in that neighborhood all come from a colonized background,” she says. “So to have that trauma again hurts on an even deeper level because you always feel like you’re being pushed out of what you’ve tried to make your own.” \u003c/p>\n\u003caside class=\"pullquote alignright\">“People feel politically disenfranchised.” \u003ccite>Caleb Smith\u003c/cite>\u003c/aside>\n\u003cp>Asked about the social and political effects of gentrification on San Francisco, Shepard predicts, “I just think it’s going to turn into a place where it’s gonna be a bunch of people who have no real emotional investment in the city.”\u003c/p>\n\u003cp>Shepard’s interviewer wasn’t surprised by her outlook. Smith just graduated with a degree in politics from University of San Francisco and is spending the summer on a public policy fellowship in Sacramento. “People feel politically disenfranchised,” he says. “There are measures to try and slow gentrification and they don’t even pass. It’s hard to identify anything that could potentially stop it.”\u003c/p>\n\u003cfigure id=\"attachment_11741658\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Mira.jpg\" alt=\"Mira Ingram, interviewed by Zeph Fishlyn\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mira-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Mira Ingram, interviewed by Zeph Fishlyn \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘This is my family and my home and everything’\u003c/h3>\n\u003cp>For \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/mira-ingram\" target=\"_blank\" rel=\"noopener\">Mira Ingram\u003c/a>, who moved to San Francisco when she was 25, the city was always a safe haven, where she could be queer and punk and politically active without fear of retribution. “I’m grateful every day that I’m here,” she says to her interviewer \u003ca href=\"http://zephrocious.com/filter/highlights\" target=\"_blank\" rel=\"noopener\">Zeph Fishlyn\u003c/a>. “I always have some bit of gratitude that I’m at a place where people understand me.”\u003c/p>\n\u003cp>In 1997 Ingram suffered an injury that ultimately caused her to become disabled; she now uses a wheelchair. At almost the same time, she was evicted from her Mission district apartment during the Bay Area’s first tech boom. “It wasn’t a big deal then,” she says of the eviction in retrospect. “It was more of a rare occurrence.” Today? “I would say probably half or more of my close friends have been Ellis Acted out of the city,” she says.\u003c/p>\n\u003cp>The tech buses that transport employees to and from Silicon Valley are more than just symbols of a changing economy and population for Ingram — they’re physical obstacles she can’t surmount in her wheelchair. \u003c/p>\n\u003caside class=\"pullquote alignright\">“It’s a loss of consciousness and awareness.” \u003ccite>Mira Ingram\u003c/cite>\u003c/aside>\n\u003cp>“The city just lets the tech buses operate here, but they don’t pay any attention to how it violates the rights of people with disabilities like me,” she says. When tech buses pull up to curbs, Ingram explains, MUNI buses are often forced to stop in the middle of the street, making it impossible for them to lower their wheelchair ramps. \u003c/p>\n\u003cp>“I can’t tell you how many doctor’s appointments I’ve missed because the tech buses are there,” she says. Beyond this serious inconvenience, she see the buses as emblematic of an even larger problem: “It’s a loss of consciousness and awareness that’s missing too. And that’s really sad.”\u003c/p>\n\u003cp>For now, Ingram’s living situation is stable, but she worries about what might happen if she lost her place in public housing. “I don’t have anywhere else to go,” she says. “This is my family and my home and everything. I’ve got tons of medical problems and this is where I’ve got it all set up.\u003c/p>\n\u003cp>“I would be here, and homeless,” she says, “before I would go somewhere else.” \u003c/p>\n\u003cfigure id=\"attachment_11741661\" class=\"wp-caption aligncenter\" style=\"max-width: 954px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg\" alt=\"Zeph Fishlyn, 'Fabric: Raveling/Unraveling,' 2014. A participatory visual arts project exploring LGBTQI experiences of home.\" width=\"954\" height=\"1005\" class=\"size-full wp-image-11741661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72.jpg 954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-400x421.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-570x600.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/wide-front_o72-768x809.jpg 768w\" sizes=\"(max-width: 954px) 100vw, 954px\">\u003cfigcaption class=\"wp-caption-text\">Zeph Fishlyn, ‘Fabric: Raveling/Unraveling,’ 2014.\u003cbr>A participatory visual arts project exploring LGBTQI experiences of home. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Ingram’s interviewer, Ingram’s story hit very close to home. Fishlyn has been evicted three times in the last four years, helping 35 people move out of their homes in 2012 alone. In addition to Ingram, Fishlyn interviewed about a dozen other subjects as part of \u003ci>Fabric: Raveling/Unraveling\u003c/i>, a visual art project for the 2014 National Queer Arts Festival.\u003c/p>\n\u003cp>“The process of doing the interviews in some ways felt like one of the most powerful pieces of it,” Fishlyn says of their artwork, which brought together multiple stories of displacement to connect those experiences of isolation. “It felt like therapy.”\u003c/p>\n\u003cfigure id=\"attachment_11741655\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Claudia.jpg\" alt=\"Claudia Tirado, interviewed by Manissa Maharawal\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Claudia-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Tirado, interviewed by Manissa Maharawal \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘I shouldn’t be doing this’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/claudia-tirado\" target=\"_blank\" rel=\"noopener\">Claudia Tirado\u003c/a> was busy fighting an eviction notice from her landlord (the late Google attorney \u003ca href=\"http://valleywag.gawker.com/protestors-target-home-of-google-exec-accused-of-evicti-1562273315\" target=\"_blank\" rel=\"noopener\">Jack Halprin\u003c/a>) when Manissa Maharawal interviewed her for A(E)MP. A mother and veteran third-grade teacher, Tirado, like Ingram, points to a growing empathy gap in the city. \u003c/p>\n\u003cp>“People don’t understand the difficulty of eviction if they have money,” she says of those who can rely on financial support from family and friends. “I don’t have funds. I’m a self-raised person.”\u003c/p>\n\u003cp>Tirado wants San Francisco to retain its spirit of acceptance and celebration of diversity. “We all have to respect each other and our differences. That’s what makes San Francisco awesome,” she says. Different worlds — and different classes — can and should coexist in the city. \u003c/p>\n\u003cp>“We have a right to live here \u003ci>and\u003c/i> to work here,” she adds. “There’s nothing wrong with being a janitor, a teacher, a bus driver, a taxi driver or a maid. What’s wrong is the lack of humanity and respect that we get.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“I just feel like a mother protecting her baby.” \u003ccite>Claudia Tirado\u003c/cite>\u003c/aside>\n\u003cp>The eviction was a threat not just to Tirado’s home, but to her relationship with her son’s father and to her own emotional well-being. When Maharawal asks if the community organizing around Tirado’s eviction is empowering, she says, “I don’t feel empowered at all. I still feel like it’s a stronger force than I can rally up energy to fight sometimes.”\u003c/p>\n\u003cp>“I feel like…” she says before she trails off. Her voice breaks with emotion. “I just feel like a mother protecting her baby.\u003c/p>\n\u003cp>“All this energy that I should be putting into my child and my classroom, I have to put into fighting [Halprin]. I shouldn’t be doing this.”\u003c/p>\n\u003cp>Maharawal, who has an \u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/manissa-clip\" target=\"_blank\" rel=\"noopener\">oral history of her own\u003c/a> on the A(E)MP page, says their two-hour interview was “a deeply personal and intense experience.”\u003c/p>\n\u003cp>“Claudia told me that the interview was cathartic for her,” she says, citing the oral history project’s overarching goals. “Eviction is a destabilizing and alienating process. The interviews aim to create space for solidarity, support and reflection.”\u003c/p>\n\u003cfigure id=\"attachment_11741657\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Michael.jpg\" alt=\"Michael Rouppet, interviewed by Manon Vergerio\" width=\"500\" height=\"500\" class=\"size-full wp-image-11741657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Michael-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Michael Rouppet, interviewed by Manon Vergerio \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘That was me’\u003c/h3>\n\u003cp>\u003ca href=\"https://soundcloud.com/anti-evictionmappingproject/sets/michael-rouppet\" target=\"_blank\" rel=\"noopener\">Michael Rouppet\u003c/a>, an HIV positive man who was homeless for nearly a year after being evicted from his Alamo Square apartment, now volunteers with the \u003ca href=\"http://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, providing services and resources to the city’s most disenfranchised people. \u003c/p>\n\u003cp>Locked out of his apartment with just his dog, one satchel and the clothes on his back, Rouppet is still trying to find out what happened to all of his possessions. “I’d like to know and I’ve been asking the court for two years, where are my things?” he says. “My wedding ring, my family photos, my mother’s recipes, not just my clothes and my underwear and my medication. My grandmother’s silver set. I’d like to know where these things are.”\u003c/p>\n\u003cp>On the street, Rouppet suffered debilitating cellulitis. It was other homeless people who took care of him. “The humanity that homeless people show each other, they taught me so much,” he says. \u003c/p>\n\u003caside class=\"pullquote alignright\">“He’s setting the example we should all live by.” \u003ccite>Vince Crisostomo\u003c/cite>\u003c/aside>\n\u003cp>Rouppet says volunteering with the SF AIDS Foundation helped him find his bearings. Vince Crisostomo, manager of the foundation’s \u003ca href=\"http://sfaf.org/client-services/50-plus/?referrer=http://sfaf.org/hiv-info/hot-topics/from-the-experts/whats-new-with-50-plus.html\" target=\"_blank\" rel=\"noopener\">50-Plus Network\u003c/a>, interjects in the recording. “When Michael talks about volunteering, it goes so far beyond that,” he says. “It just makes me cry thinking about it.” \u003c/p>\n\u003cp>When out in the field working with the city’s homeless population, Crisostomo explains, Rouppet always reaches out to even the most isolated individuals, saying, “That was me.” \u003c/p>\n\u003cp>“He’s setting the example we should all live by,” Crisostomo says. “We should remember that that could be us.”\u003c/p>\n\u003cfigure id=\"attachment_11741668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Screen-Shot-2016-06-26-at-2.09.41-PM-e1467004823386.png\" alt=\"Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories.\" width=\"1200\" height=\"669\" class=\"size-full wp-image-11741668\">\u003cfigcaption class=\"wp-caption-text\">Narratives of Displacement and Resistance map. Red dots mark no-fault evictions in San Francisco 1997-2015 and foreclosures in Alameda 2005-2015; blue dots mark oral histories. \u003ccite>(Courtesy of the Anti-Eviction Mapping Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While A(E)MP’s maps, murals and community events make visible the connections between global capital, real estate, high tech and the local political economy, what emerges from the oral history project are the effects of these entanglements on the city’s most vulnerable individuals. To listen to someone’s story, told plainly and honestly, is to momentarily inhabit their world, their struggles and goals. Empathy, a quality so many of the oral history interviewees wish to see more of in San Francisco, is the inevitable result. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Rouppet’s interviewer Manon Vergerio asks what newcomers to the Bay Area could do to better understand each other, and the homeless population more specifically, he says, “Talk to them. Rather than speaking for a population that doesn’t have representation, talk to them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "why-art-making-is-essential-to-the-tenderloins-homeless-population",
"title": "Why Art-Making is Essential to the Tenderloin’s Homeless Population",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271470763″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003ca href=\"http://www.artlifting.com/collections/jo-jackson\" target=\"_blank\" rel=\"noopener\">Jo Jackson\u003c/a> is working this sunny late spring afternoon on a series of small watercolors. “I like to build colors,” Jackson says. “I’m making a sun shape first, so that’s just an easy circular motion that’s so relaxing for me, then I get very bold and add a bright red.”\u003c/p>\n\u003cp>Jackson is a thin white woman, often bundled in a sweater and scarf. For years, she taught dance in Bolivia and Venezuela. But a series of personal setbacks over the past few years left her living in a San Francisco single room occupancy hotel (SRO), and then in a numbered bunk bed in a Tenderloin women’s shelter.\u003c/p>\n\u003cp>Jackson especially likes making collages and working with paints. Art, Jackson says, is both a form of expression and a kind of therapy. “Art for me is like water, like a river,” she says. “And water is very life giving and healing.”\u003c/p>\n\u003cfigure id=\"attachment_11746044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11746044 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg\" alt=\"Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1920x1237.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-960x618.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson values the free art studio provided by \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>. The homeless services provider is located in the mid-Market neighborhood near 6th Street, a fast gentrifying part of the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a busy place. As Jackson works on her painting, more than dozen artists, most in living situations like Jackson’s, sketch with pastels or paint with acrylics. A pottery wheel sits against a wall in the studio, next to racks of paper and other supplies.\u003c/p>\n\u003cp>\u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a> has served the homeless for nearly 50 years. The facility offers a men’s shelter, leadership development workshops, and job training programs. It also offers the only fine arts studio for the homeless in San Francisco, with more than 3,500 people using the space each year.\u003c/p>\n\u003cp>\u003cstrong>How art helps homeless people\u003c/strong>\u003c/p>\n\u003cp>When you’re lacking the basics of food and shelter, art might not seem like a priority. Yet visitors to Hospitality House consider the creative offerings essential to their existence. “The opportunity to create should be open to everyone, whether you have a home or not,” says Hospitality House executive director Jackie Jenks.\u003c/p>\n\u003cfigure id=\"attachment_11746046\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11746046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jo-Jackson-Collage-e1467131532796.jpg\" alt=\"A collage Jo Jackson sold at silent auction at Hospitality house\" width=\"320\" height=\"180\">\u003cfigcaption class=\"wp-caption-text\">A collage Jo Jackson sold at silent auction at Hospitality house \u003ccite>(Photo: Courtesy Jo Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson, together with fellow Hospitality House artist Billy Crawford, recently had an art opening at the space. They’re showing their work at Hospitality House through Friday, Jul. 22. Jackson has sold a few paintings, she says. And all the artists gets 100 percent of the proceeds from sales of their work. Jenks says Hospitality House artists made $16,000 last year.\u003c/p>\n\u003cp>Art has been an essential service for Hospitality House since 1969, two years after its founding. “The walls can really seem to close in on you in an SRO or a shelter,” Jenks says. “But here, they’re sharing the beauty of what they can create and what’s in their hearts.”\u003c/p>\n\u003cp>\u003cstrong>A common vision\u003c/strong>\u003c/p>\n\u003cp>Hospitality House isn’t the only organization in the neighborhood that offers opportunities for homeless people to tap into their creative selves. Jackson is also a frequent visitor at The Healing Well, an offshoot of the street ministry called \u003ca href=\"http://www.faithfulfools.org/\" target=\"_blank\" rel=\"noopener\">Faithful Fools\u003c/a>. The two organizations share a narrow and cozy building on Hyde Street on the edge of the Tenderloin, where they offer free poetry, yoga, meditation, and clowning classes.\u003c/p>\n\u003cp>“When I first got involved in this work, I thought, you’ve got to be kidding,” says Kathy Curran, Healing Well’s founder and director.\u003cbr>\n“We’re offering classes like yoga and meditation, and art and poetry. Shouldn’t we be helping these people find housing and get jobs?”\u003c/p>\n\u003cp>But Curran soon saw the value of Healing Well’s offerings. “I quickly realized how important it is for people to have a place where they can develop a sense of calm and confidence in coping with the trials of the past and the opportunities of the future,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11746043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11746043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg\" alt=\"An art show in the window of the Community Arts Center at Hospitaity House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An art show in the window of the Community Arts Center at Hospitality House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Back at Hospitality House, Jackson puts her paintbrush in a cup of water. Jackson has found temporary housing for the next three months. She says should be okay, as long as she can continue to make art. “Homelessness isn’t who I am,” Jackson says. “It happens to be something I’m going through right now.”\u003c/p>\n\n",
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"excerpt": "For the homeless people who visit Hospitality House and The Healing Well, art is a ‘need-to-have,’ not a ‘nice-to-have’",
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"title": "Why Art-Making is Essential to the Tenderloin’s Homeless Population | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/271470763″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/271470763″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.artlifting.com/collections/jo-jackson\" target=\"_blank\" rel=\"noopener\">Jo Jackson\u003c/a> is working this sunny late spring afternoon on a series of small watercolors. “I like to build colors,” Jackson says. “I’m making a sun shape first, so that’s just an easy circular motion that’s so relaxing for me, then I get very bold and add a bright red.”\u003c/p>\n\u003cp>Jackson is a thin white woman, often bundled in a sweater and scarf. For years, she taught dance in Bolivia and Venezuela. But a series of personal setbacks over the past few years left her living in a San Francisco single room occupancy hotel (SRO), and then in a numbered bunk bed in a Tenderloin women’s shelter.\u003c/p>\n\u003cp>Jackson especially likes making collages and working with paints. Art, Jackson says, is both a form of expression and a kind of therapy. “Art for me is like water, like a river,” she says. “And water is very life giving and healing.”\u003c/p>\n\u003cfigure id=\"attachment_11746044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11746044 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg\" alt=\"Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-1920x1237.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3328-e1467130940216-960x618.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jo Jackson is currently homeless. She finds solace and inspiration at the fine art classes she takes at Hospitality House in the Tenderloin \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson values the free art studio provided by \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>. The homeless services provider is located in the mid-Market neighborhood near 6th Street, a fast gentrifying part of the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a busy place. As Jackson works on her painting, more than dozen artists, most in living situations like Jackson’s, sketch with pastels or paint with acrylics. A pottery wheel sits against a wall in the studio, next to racks of paper and other supplies.\u003c/p>\n\u003cp>\u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a> has served the homeless for nearly 50 years. The facility offers a men’s shelter, leadership development workshops, and job training programs. It also offers the only fine arts studio for the homeless in San Francisco, with more than 3,500 people using the space each year.\u003c/p>\n\u003cp>\u003cstrong>How art helps homeless people\u003c/strong>\u003c/p>\n\u003cp>When you’re lacking the basics of food and shelter, art might not seem like a priority. Yet visitors to Hospitality House consider the creative offerings essential to their existence. “The opportunity to create should be open to everyone, whether you have a home or not,” says Hospitality House executive director Jackie Jenks.\u003c/p>\n\u003cfigure id=\"attachment_11746046\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11746046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jo-Jackson-Collage-e1467131532796.jpg\" alt=\"A collage Jo Jackson sold at silent auction at Hospitality house\" width=\"320\" height=\"180\">\u003cfigcaption class=\"wp-caption-text\">A collage Jo Jackson sold at silent auction at Hospitality house \u003ccite>(Photo: Courtesy Jo Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson, together with fellow Hospitality House artist Billy Crawford, recently had an art opening at the space. They’re showing their work at Hospitality House through Friday, Jul. 22. Jackson has sold a few paintings, she says. And all the artists gets 100 percent of the proceeds from sales of their work. Jenks says Hospitality House artists made $16,000 last year.\u003c/p>\n\u003cp>Art has been an essential service for Hospitality House since 1969, two years after its founding. “The walls can really seem to close in on you in an SRO or a shelter,” Jenks says. “But here, they’re sharing the beauty of what they can create and what’s in their hearts.”\u003c/p>\n\u003cp>\u003cstrong>A common vision\u003c/strong>\u003c/p>\n\u003cp>Hospitality House isn’t the only organization in the neighborhood that offers opportunities for homeless people to tap into their creative selves. Jackson is also a frequent visitor at The Healing Well, an offshoot of the street ministry called \u003ca href=\"http://www.faithfulfools.org/\" target=\"_blank\" rel=\"noopener\">Faithful Fools\u003c/a>. The two organizations share a narrow and cozy building on Hyde Street on the edge of the Tenderloin, where they offer free poetry, yoga, meditation, and clowning classes.\u003c/p>\n\u003cp>“When I first got involved in this work, I thought, you’ve got to be kidding,” says Kathy Curran, Healing Well’s founder and director.\u003cbr>\n“We’re offering classes like yoga and meditation, and art and poetry. Shouldn’t we be helping these people find housing and get jobs?”\u003c/p>\n\u003cp>But Curran soon saw the value of Healing Well’s offerings. “I quickly realized how important it is for people to have a place where they can develop a sense of calm and confidence in coping with the trials of the past and the opportunities of the future,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11746043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11746043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg\" alt=\"An art show in the window of the Community Arts Center at Hospitaity House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_3327-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An art show in the window of the Community Arts Center at Hospitality House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Back at Hospitality House, Jackson puts her paintbrush in a cup of water. Jackson has found temporary housing for the next three months. She says should be okay, as long as she can continue to make art. “Homelessness isn’t who I am,” Jackson says. “It happens to be something I’m going through right now.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "scotty-moore-elvis-presleys-first-guitarist-dies-at-84",
"title": "Scotty Moore, Elvis Presley's First Guitarist, Dies at 84",
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"headTitle": "Scotty Moore, Elvis Presley’s First Guitarist, Dies at 84 | KQED",
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"content": "\u003cp>Scotty Moore, the pioneering rock guitarist whose sharp, graceful style helped Elvis Presley shape his revolutionary sound and inspired a generation of musicians that included Keith Richards, Jimmy Page and Bruce Springsteen, died Tuesday. He was 84.\u003c/p>\n\u003cp>Moore died at his home in Nashville, said biographer and friend James L. Dickerson, who confirmed the death through a family friend.\u003c/p>\n\u003cp>“As a musician, I consider him one of the co-founders of rock ‘n’ roll because of the guitar licks that he invented,” Dickerson said, calling Moore an icon.\u003c/p>\n\u003cp>Presley’s ex-wife Priscilla Presley echoed that sentiment in a statement Tuesday night: “Elvis loved Scotty dearly and treasured those amazing years together, both in the studio and on the road. Scotty was an amazing musician and a legend in his own right. The incredible music that Scotty and Elvis made together will live forever and influence generations to come.”\u003c/p>\n\u003cp>Moore, a member of the Rock and Roll Hall of Fame, was the last survivor of a combo that included Presley, bassist Bill Black and producer Sam Phillips.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore was a local session musician when he and Black were thrown together with Presley on July 5, 1954, in the Memphis-based Sun Records studios. Presley was a self-effacing, but determined teen anxious to make a record. Moore’s bright riffs and fluid solos — natural compliments to Presley’s strumming rhythm guitar — and Black’s hard-slapping work on a standup bass gave Elvis the foundation on which he developed a fresh blend of blues, gospel and country that came to be called rock ‘n’ roll.\u003c/p>\n\u003cp>“One day, we went to have coffee with Sam and his secretary, Marion Keisker, and she was the one who brought up Elvis,” Moore said in a 2014 interview with Guitar Player magazine. “We didn’t know, but Marion had a crush on Elvis, and she asked Sam if he had ever talked to that boy who had been in there.\u003c/p>\n\u003cp>“Sam said to Marion, ‘Go back in there and get that boy’s telephone number, and give it to Scotty.’ Then, Sam turned to me and said, ‘Why don’t you listen to this boy, and see what you think.’ Marion came back with a slip of paper, and it said ‘Elvis Presley.’ I said, ‘Elvis Presley — what the hell kind of a name is that?'”\u003c/p>\n\u003cp>For the now-legendary Sun sessions they covered a wide range of songs, from “That’s All Right” to “Mystery Train.” After “That’s All Right” began drawing attention, Presley, Moore and Black took to the road playing any gig they could find, large or small, adding drummer D.J. Fontana and trying their best to be heard over thousands of screaming fans.\u003c/p>\n\u003cp>The hip-shaking Presley soon rose from regional act to superstardom, signing up with RCA Records and topping the charts with “Heartbreak Hotel,” ”All Shook Up” and many other hits. Elvis was the star, but young musicians listened closely to Moore’s contributions, whether the slow, churning solo he laid down on “Heartbreak Hotel” or the flashy lead on “Hard-Headed Woman.”\u003c/p>\n\u003cp>“Everyone else wanted to be Elvis,” Richards once observed. “I wanted to be Scotty.”\u003c/p>\n\u003cp>Moore, Black and Fontana backed Presley for his shocking TV appearances and early movies, but by 1957 had tired of what Moore called “Elvis economics.” In the memoir “That’s Alright, Elvis,” published in 1997, Moore noted that he earned just over $8,000 in 1956, while Presley became a millionaire. Moore also cited tension with Elvis’ manager, “Colonel” Tom Parker.\u003c/p>\n\u003cp>“We couldn’t go talk to Elvis and talk about anything,” Moore, who along with Black left Presley’s group, told The Tennessean newspaper in 1997. “There wasn’t ever any privacy. It was designed that way, but not by Elvis. It’s not that I feel bitterness, just disappointment.”\u003c/p>\n\u003cp>Moore worked one more time with Elvis, for the 1968 “comeback” TV special that helped return him to the top of the charts. But Moore’s compensation didn’t even cover his travel expenses, he would recall, and he was not asked to join Presley’s band for his tours in the 1970s. (Presley died in 1977).\u003c/p>\n\u003cp>Starting in the late 1950s, Moore worked on various projects. In 1959, singer Thomas Wayne had a Top 5 hit, “Tragedy,” on Moore’s Fernwood record label. Moore put out a solo album in 1964 called “The Guitar That Changed the World!” and with Fontana played on the 1997 Presley tribute album “All the King’s Men,” featuring Richards, Levon Helm and other stars. He and Fontana also backed Paul McCartney for the ex-Beatle’s cover of “That’s All Right.” In 2000, Moore was inducted into the Rock Hall of Fame. More recently, he was a recording studio manager, engineer and businessman.\u003c/p>\n\u003cp>“He was a class act as a human being,” biographer Dickerson told The Associated Press late Tuesday. “Besides being one of the best guitarists that ever lived and most inventive, he was a great person, and you don’t always find that in the music industry.”\u003c/p>\n\u003cp>Dickerson said a family member of Moore’s longtime companion, Gail Pollock, who had been staying in the house with Moore confirmed the death Tuesday. Pollock died in November 2015.\u003c/p>\n\u003cp>Moore was born near Gadsden, Tennessee, in 1931, and learned guitar at an early age. He was a fan of jazz and country and was strongly influenced by Chet Atkins and Les Paul. After serving in the Navy, he settled in Memphis, working at a dry cleaning plant during the day and playing music after his shift was over.\u003c/p>\n\u003cp>Phillips, who had not been impressed with Presley at first, had called in Moore and Black to work with the young singer. The two had been recorded by Phillips previously as members of a country-Western band, The Starlite Wranglers.\u003c/p>\n\u003cp>“I wanted them to get together (with Presley) and get a feel for each other,” Phillips told the Los Angeles Times in 1981. “I also told them to keep an eye out for material.”\u003c/p>\n\u003cp>Moore told of that recording session many times over the years, remembering that it was not going well until Presley broke into a spontaneous, upbeat version of “That’s All Right.” The song, also called “That’s All Right, Mama,” was originally recorded by bluesman Arthur “Big Boy” Crudup in 1946.\u003c/p>\n\u003cp>Moore and Black began jamming with Presley and helped work out the version that Phillips put on tape.\u003c/p>\n\u003cp>“Sam poked his head out of the door — this was before mixing consoles had a talkback button — and he said, ‘What are you guys doing? That sounds pretty good. Why don’t you keep doing it,'” Moore told Guitar Player. “So I got my guitar, ran through it a couple of times, and that was it. That was the beginning of, how do you say it — all hell breaking loose!”\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"excerpt": "Moore was the last survivor of a combo that included Presley, bassist Bill Black and producer Sam Phillips",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scotty Moore, the pioneering rock guitarist whose sharp, graceful style helped Elvis Presley shape his revolutionary sound and inspired a generation of musicians that included Keith Richards, Jimmy Page and Bruce Springsteen, died Tuesday. He was 84.\u003c/p>\n\u003cp>Moore died at his home in Nashville, said biographer and friend James L. Dickerson, who confirmed the death through a family friend.\u003c/p>\n\u003cp>“As a musician, I consider him one of the co-founders of rock ‘n’ roll because of the guitar licks that he invented,” Dickerson said, calling Moore an icon.\u003c/p>\n\u003cp>Presley’s ex-wife Priscilla Presley echoed that sentiment in a statement Tuesday night: “Elvis loved Scotty dearly and treasured those amazing years together, both in the studio and on the road. Scotty was an amazing musician and a legend in his own right. The incredible music that Scotty and Elvis made together will live forever and influence generations to come.”\u003c/p>\n\u003cp>Moore, a member of the Rock and Roll Hall of Fame, was the last survivor of a combo that included Presley, bassist Bill Black and producer Sam Phillips.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore was a local session musician when he and Black were thrown together with Presley on July 5, 1954, in the Memphis-based Sun Records studios. Presley was a self-effacing, but determined teen anxious to make a record. Moore’s bright riffs and fluid solos — natural compliments to Presley’s strumming rhythm guitar — and Black’s hard-slapping work on a standup bass gave Elvis the foundation on which he developed a fresh blend of blues, gospel and country that came to be called rock ‘n’ roll.\u003c/p>\n\u003cp>“One day, we went to have coffee with Sam and his secretary, Marion Keisker, and she was the one who brought up Elvis,” Moore said in a 2014 interview with Guitar Player magazine. “We didn’t know, but Marion had a crush on Elvis, and she asked Sam if he had ever talked to that boy who had been in there.\u003c/p>\n\u003cp>“Sam said to Marion, ‘Go back in there and get that boy’s telephone number, and give it to Scotty.’ Then, Sam turned to me and said, ‘Why don’t you listen to this boy, and see what you think.’ Marion came back with a slip of paper, and it said ‘Elvis Presley.’ I said, ‘Elvis Presley — what the hell kind of a name is that?'”\u003c/p>\n\u003cp>For the now-legendary Sun sessions they covered a wide range of songs, from “That’s All Right” to “Mystery Train.” After “That’s All Right” began drawing attention, Presley, Moore and Black took to the road playing any gig they could find, large or small, adding drummer D.J. Fontana and trying their best to be heard over thousands of screaming fans.\u003c/p>\n\u003cp>The hip-shaking Presley soon rose from regional act to superstardom, signing up with RCA Records and topping the charts with “Heartbreak Hotel,” ”All Shook Up” and many other hits. Elvis was the star, but young musicians listened closely to Moore’s contributions, whether the slow, churning solo he laid down on “Heartbreak Hotel” or the flashy lead on “Hard-Headed Woman.”\u003c/p>\n\u003cp>“Everyone else wanted to be Elvis,” Richards once observed. “I wanted to be Scotty.”\u003c/p>\n\u003cp>Moore, Black and Fontana backed Presley for his shocking TV appearances and early movies, but by 1957 had tired of what Moore called “Elvis economics.” In the memoir “That’s Alright, Elvis,” published in 1997, Moore noted that he earned just over $8,000 in 1956, while Presley became a millionaire. Moore also cited tension with Elvis’ manager, “Colonel” Tom Parker.\u003c/p>\n\u003cp>“We couldn’t go talk to Elvis and talk about anything,” Moore, who along with Black left Presley’s group, told The Tennessean newspaper in 1997. “There wasn’t ever any privacy. It was designed that way, but not by Elvis. It’s not that I feel bitterness, just disappointment.”\u003c/p>\n\u003cp>Moore worked one more time with Elvis, for the 1968 “comeback” TV special that helped return him to the top of the charts. But Moore’s compensation didn’t even cover his travel expenses, he would recall, and he was not asked to join Presley’s band for his tours in the 1970s. (Presley died in 1977).\u003c/p>\n\u003cp>Starting in the late 1950s, Moore worked on various projects. In 1959, singer Thomas Wayne had a Top 5 hit, “Tragedy,” on Moore’s Fernwood record label. Moore put out a solo album in 1964 called “The Guitar That Changed the World!” and with Fontana played on the 1997 Presley tribute album “All the King’s Men,” featuring Richards, Levon Helm and other stars. He and Fontana also backed Paul McCartney for the ex-Beatle’s cover of “That’s All Right.” In 2000, Moore was inducted into the Rock Hall of Fame. More recently, he was a recording studio manager, engineer and businessman.\u003c/p>\n\u003cp>“He was a class act as a human being,” biographer Dickerson told The Associated Press late Tuesday. “Besides being one of the best guitarists that ever lived and most inventive, he was a great person, and you don’t always find that in the music industry.”\u003c/p>\n\u003cp>Dickerson said a family member of Moore’s longtime companion, Gail Pollock, who had been staying in the house with Moore confirmed the death Tuesday. Pollock died in November 2015.\u003c/p>\n\u003cp>Moore was born near Gadsden, Tennessee, in 1931, and learned guitar at an early age. He was a fan of jazz and country and was strongly influenced by Chet Atkins and Les Paul. After serving in the Navy, he settled in Memphis, working at a dry cleaning plant during the day and playing music after his shift was over.\u003c/p>\n\u003cp>Phillips, who had not been impressed with Presley at first, had called in Moore and Black to work with the young singer. The two had been recorded by Phillips previously as members of a country-Western band, The Starlite Wranglers.\u003c/p>\n\u003cp>“I wanted them to get together (with Presley) and get a feel for each other,” Phillips told the Los Angeles Times in 1981. “I also told them to keep an eye out for material.”\u003c/p>\n\u003cp>Moore told of that recording session many times over the years, remembering that it was not going well until Presley broke into a spontaneous, upbeat version of “That’s All Right.” The song, also called “That’s All Right, Mama,” was originally recorded by bluesman Arthur “Big Boy” Crudup in 1946.\u003c/p>\n\u003cp>Moore and Black began jamming with Presley and helped work out the version that Phillips put on tape.\u003c/p>\n\u003cp>“Sam poked his head out of the door — this was before mixing consoles had a talkback button — and he said, ‘What are you guys doing? That sounds pretty good. Why don’t you keep doing it,'” Moore told Guitar Player. “So I got my guitar, ran through it a couple of times, and that was it. That was the beginning of, how do you say it — all hell breaking loose!”\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Homeless Blanket Project 'Undercover' Extends Long Past Super Bowl City",
"headTitle": "Homeless Blanket Project ‘Undercover’ Extends Long Past Super Bowl City | KQED",
"content": "\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gcC6uCISQaw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gcC6uCISQaw'\n title='//www.youtube.com/embed/gcC6uCISQaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> continues its upward climb out of near financial starvation with news Tuesday that the new \u003ca href=\"https://www.gov.ca.gov/news.php?id=19463\" target=\"_blank\" rel=\"noopener\">state budget\u003c/a> includes a $10.8 million bump, bringing state support to the agency in fiscal year 2016-17 to roughly $21.1 million.\u003c/p>\n\u003cp>Included in that sum: a one-time only boost of $6.8 million for the council generally, and $4 million in ongoing funding for the state’s \u003ca href=\"http://www.cac.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener\">Arts in Corrections\u003c/a> program, an initiative that provides arts programming to the state’s prisons.\u003c/p>\n\u003cp>\u003cstrong>From lean to fat\u003c/strong>\u003c/p>\n\u003cp>While it’s not the council’s first budget after the Great Recession to feature a significant top off, the spike in funding is unusually big.\u003c/p>\n\u003cp>Caitlin Fitzwater, communications director for the council, says the agency used to get north of $30 million in the early ’00s. “With the Recession, that went away,” Fitzwater says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For more than a decade following, the state’s general fund offered only $1 million dollars, reflecting a cut of more than 96 percent. That said, the council continued to get federal support from the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a>, and from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener\">Keep Arts in Schools Fund\u003c/a>.\u003c/p>\n\u003cp>The picture started to turn around in 2013. Then, in fiscal year 2015-16, the annual budget was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/24/governor-signs-state-budget-increasing-arts-funding-to-8-3-million/\" target=\"_blank\" rel=\"noopener\">permanently boosted\u003c/a> by more than $7 million.\u003c/p>\n\u003cp>Fitzwater says the increased funds will go to programs the council already serves, with a special focus on school children and veterans in under-served communities. “There is already a large demand that we haven’t been able to meet with our current budget,” Fitzwater says. “So this one-time boost will allow us to increase our investment in those programs.”\u003c/p>\n\u003cp>\u003cstrong>Boosting art in prisons\u003c/strong>\u003c/p>\n\u003cp>[contextly_sidebar id=”3DEmjmWZTpK0it43sX9LbQn9MF5X9Jzk”]\u003c/p>\n\u003cp>Currently in its third year, the Arts in Corrections program, which brings art workshops to prisoners incarcerated in state penitentiaries, has an annual budget of $2 million. It reached around 20 facilities in partnership with the California Department of Corrections and Rehabilitation (CDCR).\u003c/p>\n\u003cp>“It’s great,” says Krissi Khokhobashvili, a spokeswoman for the \u003ca href=\"http://www.cdcr.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Department of Corrections and Rehabilitation\u003c/a>. Now, with $6 million dollars annually, she says the program will reach nearly every CDCR facility in the state. “We’re really excited, as this means we’ll be able to expand this to every adult facility.” That’s about 34 facilities, up from 14.\u003c/p>\n\u003cp>“It’s a testament to the program. The artists that come into our institutions are amazing,” Khokhobashvili says, noting they work with inmates coming at the arts from every level of experience or lack thereof.\u003c/p>\n\u003cp>“If we have a program that works,” she adds “We want to replicate it to all the prisons.”\u003c/p>\n\u003cp>Another happy beneficiary is \u003ca href=\"http://dancersgroup.org/\" target=\"_blank\" rel=\"noopener\">Dancers’ Group\u003c/a>, based in San Francisco. Program Director Michelle Lynch Reynolds called the news “a really good step forward that will support so many amazing organizations and artists.” She added “Governor Brown has made an important statement on what our state values, and we applaud him for his support of the arts. Here’s to a bigger allocation in 2017!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That remains to be seen, but this coming year’s budget might also help California rise in the national rankings for state arts spending. According to the\u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\"> National Assembly of State Arts Agencies\u003c/a>, the state ranked 46th out of 50 in per-capita arts-funding for 2015-16.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> continues its upward climb out of near financial starvation with news Tuesday that the new \u003ca href=\"https://www.gov.ca.gov/news.php?id=19463\" target=\"_blank\" rel=\"noopener\">state budget\u003c/a> includes a $10.8 million bump, bringing state support to the agency in fiscal year 2016-17 to roughly $21.1 million.\u003c/p>\n\u003cp>Included in that sum: a one-time only boost of $6.8 million for the council generally, and $4 million in ongoing funding for the state’s \u003ca href=\"http://www.cac.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener\">Arts in Corrections\u003c/a> program, an initiative that provides arts programming to the state’s prisons.\u003c/p>\n\u003cp>\u003cstrong>From lean to fat\u003c/strong>\u003c/p>\n\u003cp>While it’s not the council’s first budget after the Great Recession to feature a significant top off, the spike in funding is unusually big.\u003c/p>\n\u003cp>Caitlin Fitzwater, communications director for the council, says the agency used to get north of $30 million in the early ’00s. “With the Recession, that went away,” Fitzwater says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For more than a decade following, the state’s general fund offered only $1 million dollars, reflecting a cut of more than 96 percent. That said, the council continued to get federal support from the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a>, and from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener\">Keep Arts in Schools Fund\u003c/a>.\u003c/p>\n\u003cp>The picture started to turn around in 2013. Then, in fiscal year 2015-16, the annual budget was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/24/governor-signs-state-budget-increasing-arts-funding-to-8-3-million/\" target=\"_blank\" rel=\"noopener\">permanently boosted\u003c/a> by more than $7 million.\u003c/p>\n\u003cp>Fitzwater says the increased funds will go to programs the council already serves, with a special focus on school children and veterans in under-served communities. “There is already a large demand that we haven’t been able to meet with our current budget,” Fitzwater says. “So this one-time boost will allow us to increase our investment in those programs.”\u003c/p>\n\u003cp>\u003cstrong>Boosting art in prisons\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Currently in its third year, the Arts in Corrections program, which brings art workshops to prisoners incarcerated in state penitentiaries, has an annual budget of $2 million. It reached around 20 facilities in partnership with the California Department of Corrections and Rehabilitation (CDCR).\u003c/p>\n\u003cp>“It’s great,” says Krissi Khokhobashvili, a spokeswoman for the \u003ca href=\"http://www.cdcr.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Department of Corrections and Rehabilitation\u003c/a>. Now, with $6 million dollars annually, she says the program will reach nearly every CDCR facility in the state. “We’re really excited, as this means we’ll be able to expand this to every adult facility.” That’s about 34 facilities, up from 14.\u003c/p>\n\u003cp>“It’s a testament to the program. The artists that come into our institutions are amazing,” Khokhobashvili says, noting they work with inmates coming at the arts from every level of experience or lack thereof.\u003c/p>\n\u003cp>“If we have a program that works,” she adds “We want to replicate it to all the prisons.”\u003c/p>\n\u003cp>Another happy beneficiary is \u003ca href=\"http://dancersgroup.org/\" target=\"_blank\" rel=\"noopener\">Dancers’ Group\u003c/a>, based in San Francisco. Program Director Michelle Lynch Reynolds called the news “a really good step forward that will support so many amazing organizations and artists.” She added “Governor Brown has made an important statement on what our state values, and we applaud him for his support of the arts. Here’s to a bigger allocation in 2017!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That remains to be seen, but this coming year’s budget might also help California rise in the national rankings for state arts spending. According to the\u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\"> National Assembly of State Arts Agencies\u003c/a>, the state ranked 46th out of 50 in per-capita arts-funding for 2015-16.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mack Rice, the composer of ’60s hit “Mustang Sally” and co-writer of the Staple Singers’ landmark “Respect Yourself” has died in Detroit. He was 82.\u003c/p>\n\u003cp>Laura Rice told The Associated Press that her husband died at their home Monday of complications from Alzheimer’s disease.\u003c/p>\n\u003cp>“Sir” Mack Rice was best known for writing “Mustang Sally,” which he initially recorded but singer Wilson Pickett popularized. They had been in a group together called the Falcons, which recorded in Detroit.\u003c/p>\n\u003cp>“When he wrote ‘Mustang Sally’ and he saw that royalty check, he started writing,” Laura Rice said. “He never thought ‘Mustang Sally’ would ever be as big as it became. … He used to tell me, ‘Honey that Mustang has rolled a long time.'”\u003c/p>\n\u003cp>Rice was a songwriter for Memphis, Tennessee-based Stax Records and split his time between there and Detroit, where he moved from Mississippi as a teen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He wrote “Respect Yourself” with late R&B singer-songwriter Luther Ingram for the Staple Singers, which became Stax’s biggest hit. His wife said he wrote it in about 15 minutes after talking with other musicians in the studio about the need for people to respect themselves in order to be respected by others.\u003c/p>\n\u003cp>Laura Rice and singer Pat Lewis, a longtime friend and collaborator, say he was kind, humble and embodied his other, Memphis-given nickname, “Gentleman.” Both delivered the word in a drawn-out, southern accent, sounding more like “Gentlemain.”\u003c/p>\n\u003cp>Lewis, a fellow Detroit resident who went to Stax with Mack Rice in the 1960s and remained close with him until his death, said he was a “gentle soul” who was loved by all — including ex-bandmates. She said he remained friends with Pickett, who died in 2006, and the other Falcons, even though for a lot of groups, “when they fall out, they fall out.”\u003c/p>\n\u003cp>“Pickett called (Rice) and said, ‘You oughtta let me do ‘Mustang Sally.'” recalled Lewis, who also sang backup for Aretha Franklin and Isaac Hayes. “Mack said, ‘You wanna do it? You got that.’ It wasn’t a hit (for) Mack but Pickett, wow, he just blew it out of the park.”\u003c/p>\n\u003cp>In his later years, Rice ran an asphalt company in Detroit and continued writing and performing. Despite his failing health and mind at the end of his life, Lewis said music remained at his core. She recalled their last phone conversation a few days before his death.\u003c/p>\n\u003cp>“Somebody mentioned my name and he hadn’t spoken all day, but all of a sudden he said, ‘Patsy Lewis? Where?'” Lewis said. “He said to me, ‘Patsy Lewis, hello darling. Girl, we gotta get this music.’ I said, ‘You are so right, Gentleman.'”\u003c/p>\n\u003cp>A tribute service has been scheduled for July 6 at Detroit’s New Bethel Baptist Church. A funeral service is set for July 7.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mack Rice, the composer of ’60s hit “Mustang Sally” and co-writer of the Staple Singers’ landmark “Respect Yourself” has died in Detroit. He was 82.\u003c/p>\n\u003cp>Laura Rice told The Associated Press that her husband died at their home Monday of complications from Alzheimer’s disease.\u003c/p>\n\u003cp>“Sir” Mack Rice was best known for writing “Mustang Sally,” which he initially recorded but singer Wilson Pickett popularized. They had been in a group together called the Falcons, which recorded in Detroit.\u003c/p>\n\u003cp>“When he wrote ‘Mustang Sally’ and he saw that royalty check, he started writing,” Laura Rice said. “He never thought ‘Mustang Sally’ would ever be as big as it became. … He used to tell me, ‘Honey that Mustang has rolled a long time.'”\u003c/p>\n\u003cp>Rice was a songwriter for Memphis, Tennessee-based Stax Records and split his time between there and Detroit, where he moved from Mississippi as a teen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wrote “Respect Yourself” with late R&B singer-songwriter Luther Ingram for the Staple Singers, which became Stax’s biggest hit. His wife said he wrote it in about 15 minutes after talking with other musicians in the studio about the need for people to respect themselves in order to be respected by others.\u003c/p>\n\u003cp>Laura Rice and singer Pat Lewis, a longtime friend and collaborator, say he was kind, humble and embodied his other, Memphis-given nickname, “Gentleman.” Both delivered the word in a drawn-out, southern accent, sounding more like “Gentlemain.”\u003c/p>\n\u003cp>Lewis, a fellow Detroit resident who went to Stax with Mack Rice in the 1960s and remained close with him until his death, said he was a “gentle soul” who was loved by all — including ex-bandmates. She said he remained friends with Pickett, who died in 2006, and the other Falcons, even though for a lot of groups, “when they fall out, they fall out.”\u003c/p>\n\u003cp>“Pickett called (Rice) and said, ‘You oughtta let me do ‘Mustang Sally.'” recalled Lewis, who also sang backup for Aretha Franklin and Isaac Hayes. “Mack said, ‘You wanna do it? You got that.’ It wasn’t a hit (for) Mack but Pickett, wow, he just blew it out of the park.”\u003c/p>\n\u003cp>In his later years, Rice ran an asphalt company in Detroit and continued writing and performing. Despite his failing health and mind at the end of his life, Lewis said music remained at his core. She recalled their last phone conversation a few days before his death.\u003c/p>\n\u003cp>“Somebody mentioned my name and he hadn’t spoken all day, but all of a sudden he said, ‘Patsy Lewis? Where?'” Lewis said. “He said to me, ‘Patsy Lewis, hello darling. Girl, we gotta get this music.’ I said, ‘You are so right, Gentleman.'”\u003c/p>\n\u003cp>A tribute service has been scheduled for July 6 at Detroit’s New Bethel Baptist Church. A funeral service is set for July 7.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just like the mercurial emcee character he famously played in the West End and Broadway production of the musical \u003cem>Cabaret\u003c/em> in the 1990s, Alan Cumming is hard to pin down. The Scottish thespian, writer, singer, and activist swings between wildly different personas on stage and screen — from the vicious anti-hero Mac the Knife in Kurt Weill and Bertolt Brecht’s \u003cem>The Threepenny Opera\u003c/em> to a drag queen party promoter in \u003cem>The L Word\u003c/em> television series. Beyond performance, he’s done everything from campaigned for Scottish independence to create his own \u003ca href=\"http://cbihateperfume.com/shop/2nd-alan-cumming/\" target=\"_blank\" rel=\"noopener\">line of perfumes\u003c/a>.\u003c/p>\n\u003cp>With his touring cabaret act, however, Cumming is intent on drawing out his sentimental side. \u003cem>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Alan Cumming Sings Sappy Songs\u003c/a> \u003c/em>comes to San Francisco’s Castro Theatre for one night on Thursday, Jul. 30. It’s the artist’s third such foray into cabaret. (His previous two song-infused, solo shows — \u003cem>I Bought A Blue Car Today \u003c/em>and\u003cem> Uncut — \u003c/em>both toured the country and made pit-stops in San Francisco).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EKwU9HFf7KM\u003c/p>\n\u003cp>Featuring intensely personal songs like “The Climb” by Miley Cyrus and Annie Lennox’s “Why,” \u003cem>Sappy Songs\u003c/em> got storming reviews when it played at New York’s ritzy Cafe Carlyle last year. \u003cem>The New York Times\u003c/em> called it an “emotional firestorm,” while \u003cem>The Guardian\u003c/em> said of the artist, “everything he did seemed to be designed to make the cafe’s patrons clutch their pearls.”\u003c/p>\n\u003cp>KQED caught up with Cumming while he was in production for \u003ca href=\"http://afterlouie.com/#About\" target=\"_blank\" rel=\"noopener\">\u003cem>After Louie\u003c/em>\u003c/a>, an upcoming feature film about contemporary gay life in the wake of the AIDS epidemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>This show is a real weeper, I hear. What’s the impetus behind exploring your rawest feelings and emotions?\u003c/strong>\u003c/p>\n\u003cp>Well it’s a weeper in some parts, but also hilarious in others. What I wanted was to do a show that was really honest and personal and emotional. Therefore I had no choice but to be raw and open. I think you have to be prepared to be vulnerable in order to connect properly with an audience.\u003c/p>\n\u003cp>\u003cstrong>How do you go about selecting songs for the show? \u003c/strong>\u003c/p>\n\u003cp>The songs are either ones I have always loved and wanted to sing or ones that I listened to at Club Cumming — my dressing room parties after performances of \u003cem>Cabaret\u003c/em> at Studio 54 on Broadway — and that I fell in love with. Some of them are by artistes that I never felt I would love, or songs I never thought I would sing. I think that when you listen to a song without prejudice, sometimes you can hear it in a different way. Also, all the songs are ones that I feel I can bring something to, and maybe make the audience rediscover. There is no point in me singing a song if I can’t reinvent or reinterpret it. I don’t have a nice enough voice to just to sing a song well.\u003c/p>\n\u003cfigure id=\"attachment_11749052\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg\" alt=\"Alan Cumming attends the after party for the 'Spectre' pre-release screening in 2015.\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11749052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings.jpg 600w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Alan Cumming attends the after party for the ‘Spectre’ pre-release screening in 2015. \u003ccite>( Photo: Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Most people know you from your movies and from performing in big, splashy musicals and plays. What draws you to doing a solo show?\u003c/strong>\u003c/p>\n\u003cp>I have grown to love the connection I get with an audience performing in this way. There is no veil of a character between us and it really is just me, out there, being myself. But I don’t think of it as a solo show really. I have my wee band, and I truly love them and all the fun we have traipsing round the country making music and mischief.\u003c/p>\n\u003cp>\u003cstrong>You’re a prominent gay rights activist. How does your activism inform your art and visa-versa?\u003c/strong>\u003c/p>\n\u003cp>I feel very connected to what I feel is important as a human being and what I choose to do in my work. As I get older and also as I make more of my own work, I see that my activism is infused and very central to my performing. This is especially true in a show like this, which is really just me standing up there and being me. It is filled with my beliefs and opinions. My activism and politics are totally present and part of everything in it.\u003c/p>\n\u003cp>\u003cstrong>You’ve performed in the Bay Area before. What are the biggest draws of coming to San Francisco for you?\u003c/strong>\u003c/p>\n\u003cp>Well my husband is from the Bay Area so it means I get to see his family and friends and have a bit of a vacation. And I always like finding out more about San Francisco. It’s one of those cities that I have been to a lot, but only for short trips. So each time I go it’s like a new adventure.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">\u003cb>Alan Cumming Sings Sappy Songs\u003c/b>\u003c/a> happens on Thursday, Jun. 30 at The Castro Theatre, San Francisco. \u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, Check out Cumming’s appearance on KQED’s \u003cem>Forum \u003c/em>on Thursday, Jun. 30.\u003c/p>\n\n",
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"excerpt": "Featuring intensely personal songs like 'The Climb' by Miley Cyrus and Annie Lennox's 'Why,' the Scottish artist and activist's latest solo show turned NY critics to mush. Now, 'Alan Cumming Sings Sappy Songs' is coming to SF",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like the mercurial emcee character he famously played in the West End and Broadway production of the musical \u003cem>Cabaret\u003c/em> in the 1990s, Alan Cumming is hard to pin down. The Scottish thespian, writer, singer, and activist swings between wildly different personas on stage and screen — from the vicious anti-hero Mac the Knife in Kurt Weill and Bertolt Brecht’s \u003cem>The Threepenny Opera\u003c/em> to a drag queen party promoter in \u003cem>The L Word\u003c/em> television series. Beyond performance, he’s done everything from campaigned for Scottish independence to create his own \u003ca href=\"http://cbihateperfume.com/shop/2nd-alan-cumming/\" target=\"_blank\" rel=\"noopener\">line of perfumes\u003c/a>.\u003c/p>\n\u003cp>With his touring cabaret act, however, Cumming is intent on drawing out his sentimental side. \u003cem>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Alan Cumming Sings Sappy Songs\u003c/a> \u003c/em>comes to San Francisco’s Castro Theatre for one night on Thursday, Jul. 30. It’s the artist’s third such foray into cabaret. (His previous two song-infused, solo shows — \u003cem>I Bought A Blue Car Today \u003c/em>and\u003cem> Uncut — \u003c/em>both toured the country and made pit-stops in San Francisco).\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/EKwU9HFf7KM'\n title='//www.youtube.com/embed/EKwU9HFf7KM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring intensely personal songs like “The Climb” by Miley Cyrus and Annie Lennox’s “Why,” \u003cem>Sappy Songs\u003c/em> got storming reviews when it played at New York’s ritzy Cafe Carlyle last year. \u003cem>The New York Times\u003c/em> called it an “emotional firestorm,” while \u003cem>The Guardian\u003c/em> said of the artist, “everything he did seemed to be designed to make the cafe’s patrons clutch their pearls.”\u003c/p>\n\u003cp>KQED caught up with Cumming while he was in production for \u003ca href=\"http://afterlouie.com/#About\" target=\"_blank\" rel=\"noopener\">\u003cem>After Louie\u003c/em>\u003c/a>, an upcoming feature film about contemporary gay life in the wake of the AIDS epidemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>This show is a real weeper, I hear. What’s the impetus behind exploring your rawest feelings and emotions?\u003c/strong>\u003c/p>\n\u003cp>Well it’s a weeper in some parts, but also hilarious in others. What I wanted was to do a show that was really honest and personal and emotional. Therefore I had no choice but to be raw and open. I think you have to be prepared to be vulnerable in order to connect properly with an audience.\u003c/p>\n\u003cp>\u003cstrong>How do you go about selecting songs for the show? \u003c/strong>\u003c/p>\n\u003cp>The songs are either ones I have always loved and wanted to sing or ones that I listened to at Club Cumming — my dressing room parties after performances of \u003cem>Cabaret\u003c/em> at Studio 54 on Broadway — and that I fell in love with. Some of them are by artistes that I never felt I would love, or songs I never thought I would sing. I think that when you listen to a song without prejudice, sometimes you can hear it in a different way. Also, all the songs are ones that I feel I can bring something to, and maybe make the audience rediscover. There is no point in me singing a song if I can’t reinvent or reinterpret it. I don’t have a nice enough voice to just to sing a song well.\u003c/p>\n\u003cfigure id=\"attachment_11749052\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg\" alt=\"Alan Cumming attends the after party for the 'Spectre' pre-release screening in 2015.\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11749052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings.jpg 600w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Alan Cumming attends the after party for the ‘Spectre’ pre-release screening in 2015. \u003ccite>( Photo: Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Most people know you from your movies and from performing in big, splashy musicals and plays. What draws you to doing a solo show?\u003c/strong>\u003c/p>\n\u003cp>I have grown to love the connection I get with an audience performing in this way. There is no veil of a character between us and it really is just me, out there, being myself. But I don’t think of it as a solo show really. I have my wee band, and I truly love them and all the fun we have traipsing round the country making music and mischief.\u003c/p>\n\u003cp>\u003cstrong>You’re a prominent gay rights activist. How does your activism inform your art and visa-versa?\u003c/strong>\u003c/p>\n\u003cp>I feel very connected to what I feel is important as a human being and what I choose to do in my work. As I get older and also as I make more of my own work, I see that my activism is infused and very central to my performing. This is especially true in a show like this, which is really just me standing up there and being me. It is filled with my beliefs and opinions. My activism and politics are totally present and part of everything in it.\u003c/p>\n\u003cp>\u003cstrong>You’ve performed in the Bay Area before. What are the biggest draws of coming to San Francisco for you?\u003c/strong>\u003c/p>\n\u003cp>Well my husband is from the Bay Area so it means I get to see his family and friends and have a bit of a vacation. And I always like finding out more about San Francisco. It’s one of those cities that I have been to a lot, but only for short trips. So each time I go it’s like a new adventure.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">\u003cb>Alan Cumming Sings Sappy Songs\u003c/b>\u003c/a> happens on Thursday, Jun. 30 at The Castro Theatre, San Francisco. \u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, Check out Cumming’s appearance on KQED’s \u003cem>Forum \u003c/em>on Thursday, Jun. 30.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "John Leguizamo Rewrites History with New Solo Show",
"headTitle": "John Leguizamo Rewrites History with New Solo Show | KQED",
"content": "\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ludacris To Play Gitmo's Fourth of July 'Freedom Festival,' Irony Officially Dead",
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"content": "\u003cp>First, a confession: I love Ludacris. I love Ludacris to a degree I cannot really defend, other than to say I am the right age for loving Ludacris, which is to say I was 16 years old when the song \"Area Codes\" dropped, which is to say I will likely always find both it and him brilliant and hilarious. (Also,\u003ca href=\"http://www.fastcocreate.com/1682726/inf-ho-graphic-a-precisely-plotted-map-of-area-codes-in-which-ludacris-has-hoes\" target=\"_blank\"> this map\u003c/a>.)\u003c/p>\n\u003cp>I even went out of my way to see Ludacris perform at SXSW's Interactive closing party in 2015, an event at which I was more visibly excited and engaged than maybe 98 percent of attendees, which is not actually saying that much if you have ever been to a private but admission-free rager overwhelmingly populated by tech dudes.\u003c/p>\n\u003cp>All of which leaves me curious as to the vibe, so to speak, at a \u003ca href=\"http://www.miamiherald.com/news/nation-world/national/article86208127.html\" target=\"_blank\">rather different upcoming Ludacris performance.\u003c/a> The \u003cem>Miami Herald\u003c/em> reported today that the overgrown class clown of a rapper has been chosen to headline the annual Fourth of July \"Freedom Festival\" at Guantanamo Bay, a free event thrown for the less than 6,000 residents of the Navy base there. The \u003cem>Herald\u003c/em> notes that this population is made up of \"troops, Department of Defense contractors, Navy families and the last [79] war-on-terror detainees.\" (The original \u003cem>Herald \u003c/em>story misidentified that number as 89.\u003cem>)\u003c/em>\u003c/p>\n\u003cp>President Obama, you may recall, has been pledging to close the now 14-year-old military prison since before he was elected president, noting its well-documented history of detaining suspected terrorists indefinitely, without trial. As recently as February of this year, \u003ca href=\"http://www.nytimes.com/2016/02/24/us/politics/obama-guantanamo-bay.html?_r=0\" target=\"_blank\">he presented Congress with a plan\u003c/a> for transferring the remaining prisoners away from the facility, noting that the prison \"is viewed as a stain on our broader record of upholding the highest standards of rule of law. This is about closing a chapter in our history.\"\u003c/p>\n\u003cp>That plan was met with near-instantaneous rejection by Republican members of Congress. In the waning months of the Obama administration, it seems likely that the complex issues surrounding the detention center and its closure will be passed on to the next inhabitant of the Oval Office, not unlike some sort of pesky, Rumsfeld-era STD.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the time being, then, there remain more than 5,000 people residing at Guantanamo Bay -- and I'm certainly not here to say they don't deserve entertainment. On the contrary, if your work involves daily interaction with an institution the president actively refers to as a \"stain,\" you should get all the free concerts you can take. Calling the annual taxpayer-funded Fourth of July event at a military prison Amnesty International once referred to as the \u003ca href=\"https://web.archive.org/web/20060220210041/http://web.amnesty.org/library/Index/ENGPOL100142005\" target=\"_blank\">Gulag of our times\u003c/a> a \"Freedom Festival,\" on the other hand, involves a degree of questionable judgment I can't really wrap my head around.\u003c/p>\n\u003cp>In any event, Ludacris is apparently the biggest name to visit said festival in over a decade: \"Base residents couldn’t recall a show of this magnitude since Jimmy Buffett played the open-air Lyceum movie theater in December 2002,\" reports the \u003cem>Herald\u003c/em>. Recent years have instead seen performances by smaller, pop-punkier fish like the Plain White Ts [insert your own offensive joke about cruel and unusual punishment here].\u003c/p>\n\u003cp>To summarize: If you are a person who loves fireworks and comical hip-hop songs about women's body parts and your area code is 21 (shout out Guantanamo Bay, Cuba), this year's Fourth of July just might be the free-est you've ever felt!\u003c/p>\n\u003cp>Unless, of course, you're a detainee: Organizers have assured the press that Windward Ferry Landing, the glorified parking lot from whence said freedom will be ringing, is too far away from the detention center for the prisoners to hear it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, a confession: I love Ludacris. I love Ludacris to a degree I cannot really defend, other than to say I am the right age for loving Ludacris, which is to say I was 16 years old when the song \"Area Codes\" dropped, which is to say I will likely always find both it and him brilliant and hilarious. (Also,\u003ca href=\"http://www.fastcocreate.com/1682726/inf-ho-graphic-a-precisely-plotted-map-of-area-codes-in-which-ludacris-has-hoes\" target=\"_blank\"> this map\u003c/a>.)\u003c/p>\n\u003cp>I even went out of my way to see Ludacris perform at SXSW's Interactive closing party in 2015, an event at which I was more visibly excited and engaged than maybe 98 percent of attendees, which is not actually saying that much if you have ever been to a private but admission-free rager overwhelmingly populated by tech dudes.\u003c/p>\n\u003cp>All of which leaves me curious as to the vibe, so to speak, at a \u003ca href=\"http://www.miamiherald.com/news/nation-world/national/article86208127.html\" target=\"_blank\">rather different upcoming Ludacris performance.\u003c/a> The \u003cem>Miami Herald\u003c/em> reported today that the overgrown class clown of a rapper has been chosen to headline the annual Fourth of July \"Freedom Festival\" at Guantanamo Bay, a free event thrown for the less than 6,000 residents of the Navy base there. The \u003cem>Herald\u003c/em> notes that this population is made up of \"troops, Department of Defense contractors, Navy families and the last [79] war-on-terror detainees.\" (The original \u003cem>Herald \u003c/em>story misidentified that number as 89.\u003cem>)\u003c/em>\u003c/p>\n\u003cp>President Obama, you may recall, has been pledging to close the now 14-year-old military prison since before he was elected president, noting its well-documented history of detaining suspected terrorists indefinitely, without trial. As recently as February of this year, \u003ca href=\"http://www.nytimes.com/2016/02/24/us/politics/obama-guantanamo-bay.html?_r=0\" target=\"_blank\">he presented Congress with a plan\u003c/a> for transferring the remaining prisoners away from the facility, noting that the prison \"is viewed as a stain on our broader record of upholding the highest standards of rule of law. This is about closing a chapter in our history.\"\u003c/p>\n\u003cp>That plan was met with near-instantaneous rejection by Republican members of Congress. In the waning months of the Obama administration, it seems likely that the complex issues surrounding the detention center and its closure will be passed on to the next inhabitant of the Oval Office, not unlike some sort of pesky, Rumsfeld-era STD.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the time being, then, there remain more than 5,000 people residing at Guantanamo Bay -- and I'm certainly not here to say they don't deserve entertainment. On the contrary, if your work involves daily interaction with an institution the president actively refers to as a \"stain,\" you should get all the free concerts you can take. Calling the annual taxpayer-funded Fourth of July event at a military prison Amnesty International once referred to as the \u003ca href=\"https://web.archive.org/web/20060220210041/http://web.amnesty.org/library/Index/ENGPOL100142005\" target=\"_blank\">Gulag of our times\u003c/a> a \"Freedom Festival,\" on the other hand, involves a degree of questionable judgment I can't really wrap my head around.\u003c/p>\n\u003cp>In any event, Ludacris is apparently the biggest name to visit said festival in over a decade: \"Base residents couldn’t recall a show of this magnitude since Jimmy Buffett played the open-air Lyceum movie theater in December 2002,\" reports the \u003cem>Herald\u003c/em>. Recent years have instead seen performances by smaller, pop-punkier fish like the Plain White Ts [insert your own offensive joke about cruel and unusual punishment here].\u003c/p>\n\u003cp>To summarize: If you are a person who loves fireworks and comical hip-hop songs about women's body parts and your area code is 21 (shout out Guantanamo Bay, Cuba), this year's Fourth of July just might be the free-est you've ever felt!\u003c/p>\n\u003cp>Unless, of course, you're a detainee: Organizers have assured the press that Windward Ferry Landing, the glorified parking lot from whence said freedom will be ringing, is too far away from the detention center for the prisoners to hear it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The song “Happy Birthday” is now as free as a birthday balloon with a loose string.\u003c/p>\n\u003cp>[contextly_sidebar id=”SeJxOhutS4B0GGnkeP9GTBRDscXVjp49″]\u003c/p>\n\u003cp>A US District Judge in Los Angeles approved a final settlement Monday in a lawsuit brought against music publisher Warner/Chappell, who owns the copyright on the birthday song, by half a dozen plaintiffs — one of which is a Bay Area musician.\u003c/p>\n\u003cp>Under the terms of the settlement, Warner/Chappell will have to reimburse $14 million in licensing fees collected over the past 3 years to more than 200 claimants.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg\" alt=\"Rupa and the April Fishes\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley’s Rupa Marya leads the band Rupa and the April Fishes and was one of the plaintiffs in the case. On Monday she got an assurance she’ll be reimbursed $455, the amount she paid Warner/Chappell for using Happy Birthday on a live album recorded in 2013.\u003c/p>\n\u003cfigure id=\"attachment_11745187\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11745187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg\" alt=\"Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song 'Happy Birthday'\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song ‘Happy Birthday’ \u003ccite>(Photo: Courtesy Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so great about it,” Marya said, while riding a cab from the federal courthouse in Los Angeles to the airport for a flight home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marya says the case was not a protest against copyrights. She said, they’re supposed to protect the work of artists, “so they can continue making a living off of their work. It’s not a commodity for corporations to beat artists up with.”\u003c/p>\n\u003cp>Marya argues the case is also a symbolic victory for what many call “the commons.”\u003c/p>\n\u003cp>“Things that belong to no one and everyone,” she said. “So many things, have been co-opted by corporations. The way Monsanto has patented the seeds the company sells to farmers. People should find an issue they care about, where the commons have been encroached upon, and find some lawyers, and go out and sue some corporations.”\u003c/p>\n\u003cp>Warner/Chappell didn’t return an email request for comment on the settlement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile the attorneys involved in the case are now challenging the copyrights to the song “We Shall Overcome,” and Woody Guthrie’s “This Land is Your Land.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song “Happy Birthday” is now as free as a birthday balloon with a loose string.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A US District Judge in Los Angeles approved a final settlement Monday in a lawsuit brought against music publisher Warner/Chappell, who owns the copyright on the birthday song, by half a dozen plaintiffs — one of which is a Bay Area musician.\u003c/p>\n\u003cp>Under the terms of the settlement, Warner/Chappell will have to reimburse $14 million in licensing fees collected over the past 3 years to more than 200 claimants.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg\" alt=\"Rupa and the April Fishes\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley’s Rupa Marya leads the band Rupa and the April Fishes and was one of the plaintiffs in the case. On Monday she got an assurance she’ll be reimbursed $455, the amount she paid Warner/Chappell for using Happy Birthday on a live album recorded in 2013.\u003c/p>\n\u003cfigure id=\"attachment_11745187\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11745187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg\" alt=\"Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song 'Happy Birthday'\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song ‘Happy Birthday’ \u003ccite>(Photo: Courtesy Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so great about it,” Marya said, while riding a cab from the federal courthouse in Los Angeles to the airport for a flight home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marya says the case was not a protest against copyrights. She said, they’re supposed to protect the work of artists, “so they can continue making a living off of their work. It’s not a commodity for corporations to beat artists up with.”\u003c/p>\n\u003cp>Marya argues the case is also a symbolic victory for what many call “the commons.”\u003c/p>\n\u003cp>“Things that belong to no one and everyone,” she said. “So many things, have been co-opted by corporations. The way Monsanto has patented the seeds the company sells to farmers. People should find an issue they care about, where the commons have been encroached upon, and find some lawyers, and go out and sue some corporations.”\u003c/p>\n\u003cp>Warner/Chappell didn’t return an email request for comment on the settlement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile the attorneys involved in the case are now challenging the copyrights to the song “We Shall Overcome,” and Woody Guthrie’s “This Land is Your Land.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The burgeoning field of Virtual Reality — or VR as it is commonly known — is a vehicle for telling stories through 360-degree visuals and sound that put you right in the middle of the action, be it at a crowded \u003ca href=\"https://www.youtube.com/watch?v=iXHil1TPxvA&feature=youtu.be&t=6m30s\" target=\"_blank\" rel=\"noopener\">Syrian refugee camp\u003c/a>, or inside the body of an \u003ca href=\"https://www.genworth.com/lets-talk/r70i-aging-experience.html\" target=\"_blank\" rel=\"noopener\">85-year-old with a bad hip and cataracts\u003c/a>. Because of VR’s immersive properties, some people describe the medium as “the ultimate empathy machine.” But can it make people care about something as fraught and multi-faceted as homelessness?\u003c/p>\n\u003cp>A study in progress at Stanford’s \u003ca href=\"https://vhil.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Virtual Human Interaction Lab\u003c/a> explores that question, and I strapped on an \u003ca href=\"https://www.oculus.com/en-us/\" target=\"_blank\" rel=\"noopener\">Oculus Rift\u003c/a> headset (one of the most popular devices people currently use to experience VR) to look for an answer.\u003c/p>\n\u003cp>\u003cstrong>A new way of understanding homelessness\u003c/strong>\u003c/p>\n\u003cp>The study, called \u003cem>\u003ca href=\"https://vhil.stanford.edu/projects/2015/empathy-at-scale/\" target=\"_blank\" rel=\"noopener\">Empathy at Scale\u003c/a>,\u003c/em> puts participants in a variety of scenes designed to help them imagine the experience of being homeless themselves.\u003c/p>\n\u003cfigure id=\"attachment_11744366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11744366 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg\" alt=\"'Empathy at Scale,' a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-1180x709.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut.jpg 1449w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Empathy at Scale,’ a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person. \u003ccite>(Photo: Courtesy Stanford’s Virtual Human Interaction Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike VR that uses 360-degree video, this dramatization looks like a low-fi video game, so it’s hard to mistake it for reality. Even so, my brain responded to the immersive environment to some extent as if I did perceive it as real. When a cop pulled up and trained a flashlight into the car, I physically flinched.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are people who come into our lab and say ‘I knew that was fake the whole time,’” says \u003cem>Empathy at Scale\u003c/em> project manager Elise Ogle. “But for some people, your brain just can’t determine the difference between real life and this powerful visual stimuli that we’re showing you.”\u003c/p>\n\u003cp>\u003cstrong>The 22 bus line story\u003c/strong>\u003c/p>\n\u003cp>As part of their research for the project, the creators of \u003cem>Empathy at Scale\u003c/em> incorporated local stories about homelessness. One they found particularly affecting was \u003cem>Hotel 22\u003c/em>, a short documentary by a Stanford student filmmaker about Valley Transportation Authority \u003ca href=\"http://www.vta.org/routes/rt22\" target=\"_blank\" rel=\"noopener\">bus line 22\u003c/a>, which runs all night between Palo Alto and San Jose. The line is nicknamed “Hotel 22,” because it’s popular with homeless people looking for a safe alternative to sleeping on the streets.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 138190538 w=640 h=360]\u003c/aside>\n\u003cp>\u003ca href=\"https://vimeo.com/138190538\">\u003cem>Hotel 22\u003c/em> by Elizabeth Lo\u003c/a> from \u003ca href=\"https://vimeo.com/shortoftheweek\">Short of the Week\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>The bus, it turns out, is an ideal virtual reality setting for delivering a variety of stories that show how complex the problem of homelessness is. As the bus travels down the street in the VR world, I click on each passenger, and hear a recording of Ogle telling me how they got on the bus.\u003c/p>\n\u003cp>In the back, a man sits with a boy of about 10. “This is a father, Ray, and his son, named Ethan,” Ogle says in a flat, emotionally neutral tone. “Ethan’s mother suffered from a chronic illness and recently passed away. Left with the hospital bills, Ray is in debt. They’re on a family shelter waiting list. So until free spaces become available, they sleep on the bus at night.\u003cem>“\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271733576″ 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>\u003cstrong>Empathy is uncomfortable\u003c/strong>\u003c/p>\n\u003cp>Jamil Zaki, an assistant professor of psychology at \u003ca href=\"http://ssnl.stanford.edu/\">Stanford’s Social Neuroscience Lab\u003c/a>, helped the VR team design its study, and he says we often go out of our way to avoid feeling empathy. “People are incredibly efficient at cutting the world up into us and them,” Zaki says. “And when they do so, they’re also incredibly efficient at cutting off whoever’s on the other side of that boundary. Even when people acknowledge that someone who’s different from them experiences pain and suffering, they often find ways to blame that individual. They say ‘Well, that person’s having a bad time, but it’s because of the choices that they made. I would never been in that position.’”\u003c/p>\n\u003cp>[contextly_sidebar id=”rSm5iIUjxRt3aztiv3qAbmK9w2V2jhfe”]\u003c/p>\n\u003cp>But wearing a VR headset that engages your ears, eyes and even peripheral vision, makes it hard to shut out the pain of the people or avatars in front of you. “Once you understand the world as someone else sees it, and inhabit their inner life, you’re on the hook!” Zaki says. “You now, in essence, have a responsibility to care for that person, and maybe invest in their well-being.”\u003cbr>\nAs University of Southern California VR researcher \u003ca href=\"http://www.immersivejournalism.com/\" target=\"_blank\" rel=\"noopener\">Nonny de la Peña\u003c/a> explained in a recent TED talk, the VR scenario may also force people to confront strong emotions like panic when events occur that they feel powerless to stop. (Even though, physically, you could just take your headset off.)\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=zsLz0mRmEG0]\u003c/p>\n\u003cp>\u003cstrong>Testing the technology\u003c/strong>\u003c/p>\n\u003cp>The Stanford researchers are looking for a diverse pool of around 1,000 people to test \u003cem>Empathy at Scale\u003c/em> before the end of this year. So they’ve set up a mobile testing unit at places like the \u003ca href=\"http://www.thetech.org/\" target=\"_blank\" rel=\"noopener\">Tech Museum\u003c/a> in San Jose.\u003c/p>\n\u003cp>Jhansi Raju, an ophthalmologist from Chicago, tried out the technology while visiting the Tech Museum with her family recently. She found the \u003cem>Hotel 22\u003c/em> sequence most affecting. “It showed the human side of homelessness,” Raju says. “Everyone’s story was so different.”\u003c/p>\n\u003cp>Raju was especially moved by the story of Ray and his son Ethan. “For me, having a child and imagining how you could live on a bus with a kid, that was very moving and very sad to see,” Rajus says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The study tests the level of empathy a user feels after experiencing the VR narratives by asking various questions after he or she goes through the various scenes. It also offers her the option to donate the $10 gift card she got for participating in the study to a local charity. Raju agrees to donate. “I feel like I’m a pretty aware person, in terms of social issues like that,” Raju says. “But going through this process really makes you experience the feelings and the emotions of it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The burgeoning field of Virtual Reality — or VR as it is commonly known — is a vehicle for telling stories through 360-degree visuals and sound that put you right in the middle of the action, be it at a crowded \u003ca href=\"https://www.youtube.com/watch?v=iXHil1TPxvA&feature=youtu.be&t=6m30s\" target=\"_blank\" rel=\"noopener\">Syrian refugee camp\u003c/a>, or inside the body of an \u003ca href=\"https://www.genworth.com/lets-talk/r70i-aging-experience.html\" target=\"_blank\" rel=\"noopener\">85-year-old with a bad hip and cataracts\u003c/a>. Because of VR’s immersive properties, some people describe the medium as “the ultimate empathy machine.” But can it make people care about something as fraught and multi-faceted as homelessness?\u003c/p>\n\u003cp>A study in progress at Stanford’s \u003ca href=\"https://vhil.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Virtual Human Interaction Lab\u003c/a> explores that question, and I strapped on an \u003ca href=\"https://www.oculus.com/en-us/\" target=\"_blank\" rel=\"noopener\">Oculus Rift\u003c/a> headset (one of the most popular devices people currently use to experience VR) to look for an answer.\u003c/p>\n\u003cp>\u003cstrong>A new way of understanding homelessness\u003c/strong>\u003c/p>\n\u003cp>The study, called \u003cem>\u003ca href=\"https://vhil.stanford.edu/projects/2015/empathy-at-scale/\" target=\"_blank\" rel=\"noopener\">Empathy at Scale\u003c/a>,\u003c/em> puts participants in a variety of scenes designed to help them imagine the experience of being homeless themselves.\u003c/p>\n\u003cfigure id=\"attachment_11744366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11744366 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg\" alt=\"'Empathy at Scale,' a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-1180x709.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut.jpg 1449w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Empathy at Scale,’ a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person. \u003ccite>(Photo: Courtesy Stanford’s Virtual Human Interaction Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike VR that uses 360-degree video, this dramatization looks like a low-fi video game, so it’s hard to mistake it for reality. Even so, my brain responded to the immersive environment to some extent as if I did perceive it as real. When a cop pulled up and trained a flashlight into the car, I physically flinched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are people who come into our lab and say ‘I knew that was fake the whole time,’” says \u003cem>Empathy at Scale\u003c/em> project manager Elise Ogle. “But for some people, your brain just can’t determine the difference between real life and this powerful visual stimuli that we’re showing you.”\u003c/p>\n\u003cp>\u003cstrong>The 22 bus line story\u003c/strong>\u003c/p>\n\u003cp>As part of their research for the project, the creators of \u003cem>Empathy at Scale\u003c/em> incorporated local stories about homelessness. One they found particularly affecting was \u003cem>Hotel 22\u003c/em>, a short documentary by a Stanford student filmmaker about Valley Transportation Authority \u003ca href=\"http://www.vta.org/routes/rt22\" target=\"_blank\" rel=\"noopener\">bus line 22\u003c/a>, which runs all night between Palo Alto and San Jose. The line is nicknamed “Hotel 22,” because it’s popular with homeless people looking for a safe alternative to sleeping on the streets.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003ca href=\"https://vimeo.com/138190538\">\u003cem>Hotel 22\u003c/em> by Elizabeth Lo\u003c/a> from \u003ca href=\"https://vimeo.com/shortoftheweek\">Short of the Week\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>The bus, it turns out, is an ideal virtual reality setting for delivering a variety of stories that show how complex the problem of homelessness is. As the bus travels down the street in the VR world, I click on each passenger, and hear a recording of Ogle telling me how they got on the bus.\u003c/p>\n\u003cp>In the back, a man sits with a boy of about 10. “This is a father, Ray, and his son, named Ethan,” Ogle says in a flat, emotionally neutral tone. “Ethan’s mother suffered from a chronic illness and recently passed away. Left with the hospital bills, Ray is in debt. They’re on a family shelter waiting list. So until free spaces become available, they sleep on the bus at night.\u003cem>“\u003c/em>\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/271733576″&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/271733576″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Empathy is uncomfortable\u003c/strong>\u003c/p>\n\u003cp>Jamil Zaki, an assistant professor of psychology at \u003ca href=\"http://ssnl.stanford.edu/\">Stanford’s Social Neuroscience Lab\u003c/a>, helped the VR team design its study, and he says we often go out of our way to avoid feeling empathy. “People are incredibly efficient at cutting the world up into us and them,” Zaki says. “And when they do so, they’re also incredibly efficient at cutting off whoever’s on the other side of that boundary. Even when people acknowledge that someone who’s different from them experiences pain and suffering, they often find ways to blame that individual. They say ‘Well, that person’s having a bad time, but it’s because of the choices that they made. I would never been in that position.’”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But wearing a VR headset that engages your ears, eyes and even peripheral vision, makes it hard to shut out the pain of the people or avatars in front of you. “Once you understand the world as someone else sees it, and inhabit their inner life, you’re on the hook!” Zaki says. “You now, in essence, have a responsibility to care for that person, and maybe invest in their well-being.”\u003cbr>\nAs University of Southern California VR researcher \u003ca href=\"http://www.immersivejournalism.com/\" target=\"_blank\" rel=\"noopener\">Nonny de la Peña\u003c/a> explained in a recent TED talk, the VR scenario may also force people to confront strong emotions like panic when events occur that they feel powerless to stop. (Even though, physically, you could just take your headset off.)\u003c/p>\n\u003cp>\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/zsLz0mRmEG0'\n title='//www.youtube.com/embed/zsLz0mRmEG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Testing the technology\u003c/strong>\u003c/p>\n\u003cp>The Stanford researchers are looking for a diverse pool of around 1,000 people to test \u003cem>Empathy at Scale\u003c/em> before the end of this year. So they’ve set up a mobile testing unit at places like the \u003ca href=\"http://www.thetech.org/\" target=\"_blank\" rel=\"noopener\">Tech Museum\u003c/a> in San Jose.\u003c/p>\n\u003cp>Jhansi Raju, an ophthalmologist from Chicago, tried out the technology while visiting the Tech Museum with her family recently. She found the \u003cem>Hotel 22\u003c/em> sequence most affecting. “It showed the human side of homelessness,” Raju says. “Everyone’s story was so different.”\u003c/p>\n\u003cp>Raju was especially moved by the story of Ray and his son Ethan. “For me, having a child and imagining how you could live on a bus with a kid, that was very moving and very sad to see,” Rajus says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The study tests the level of empathy a user feels after experiencing the VR narratives by asking various questions after he or she goes through the various scenes. It also offers her the option to donate the $10 gift card she got for participating in the study to a local charity. Raju agrees to donate. “I feel like I’m a pretty aware person, in terms of social issues like that,” Raju says. “But going through this process really makes you experience the feelings and the emotions of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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