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"content": "\u003cp>David Gilkey, an NPR photojournalist who chronicled pain and beauty in war and conflict, was killed in Afghanistan on Sunday along with NPR’s Afghan interpreter Zabihullah Tamanna.\u003c/p>\n\u003cp>David and Zabihullah were on assignment for the network traveling with an Afghan army unit, which came under attack killing David and Zabihullah.\u003c/p>\n\u003cp>David was 50 and Zabihullah, who for years also worked as a photographer, was 38 years old.\u003c/p>\n\u003cp>David was considered one of the best photojournalists in the world — honored with a raft of awards including a George Polk in 2010, an Emmy in 2007 and dozens of distinctions from the White House News Photographers Association.\u003c/p>\n\u003cp>It is fair to say that David witnessed some of humanity’s most challenging moments: He covered wars in Afghanistan and Iraq. He covered the conflict between Israel and Hamas in Gaza. He covered the end of the apartheid regime in South Africa. He covered the devastating earthquake in Haiti, famine in Somalia and most recently the Ebola epidemic in Liberia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His images were haunting — amid the rubble, he found beauty; amid war, he found humanity.\u003c/p>\n\u003cp>Back in 2010, after he covered the earthquake in Haiti, \u003ca href=\"https://www.youtube.com/watch?v=iZutq7Cvoe4\">he talked about his craft\u003c/a>. The camera, he said, made things easier.\u003c/p>\n\u003cp>“It’s not like you put the camera to your face and therefore it makes what you’re seeing OK, but certainly you can put yourself in a zone,” David said. “It’s hard, but you can’t get caught up in it and become part of it. You still need to maintain your state of mind that you are helping tell this story.”\u003c/p>\n\u003cp>His craft, he said, was about more than journalism.\u003c/p>\n\u003cp>“It’s not just reporting. It’s not just taking pictures,” he said. “It’s do those visuals, do the stories, do they change somebody’s mind enough to take action?”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/about-npr/480860878/npr-statement-on-david-gilkey\">In an email to staff\u003c/a>, Michael Oreskes, NPR’s vice president for news said David died pursuing that commitment.\u003c/p>\n\u003cp>“As a man and as a photojournalist, David brought out the humanity of all those around him,” Michael said. “He let us see the world and each other through his eyes.”\u003c/p>\n\u003cp>Keith Jenkins, the general manager for digital at the National Geographic Society who edited David at NPR, said he and David talked a lot about the dangers of the work David was doing and how much longer he could keep doing it.\u003c/p>\n\u003cp>“Ultimately, he felt it was really important to tell those stories and to tell them to a society that can very often forget that we have people in harm’s way on a daily basis,” Keith said.\u003c/p>\n\u003cp>David also understood those risks.\u003c/p>\n\u003cp>“It’s a very hard thing to put into words, the peace you sort of make with what you’re gonna be doing,” David said. “I’m not saying you walk into these situations and you’re fatalistic about it, but you also are preparing and making decisions based on the sort of level of threat that is there.”\u003c/p>\n\u003cp>Zabihullah, who was known as Zabi, worked as a photojournalist for the Chinese news agency Xinhua. More recently, he wrote for Turkey’s Anadolu News Agency. He wrote the big news — when a new Afghani president was sworn in — but also covered the daily attacks and drone strikes that killed militants and civilians.\u003c/p>\n\u003cp>NPR’s Philip Reeves recruited Zabihullah to NPR. He called him a “great colleague.”\u003c/p>\n\u003cp>“He was a lovely man, with a great eye for a story and deep wisdom about his country,” Philip said. “He clearly loved his family.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Secretary of State John Kerry released the following statement:\u003c/p>\n\u003cblockquote>\n\u003cp>I was saddened to learn today of the death of an NPR photographer, David Gilkey, and his colleague Zabihulla Tamanna, who were part of a crew reporting on Afghan forces in the southern part of the country.\u003c/p>\n\u003cp>This attack is a grim reminder of the danger that continues to face the Afghan people, the dedication of Afghan national defense and security forces to securing their country, and of the courage of intrepid journalists — and their interpreters — who are trying to convey that important story to the rest of the world.\u003c/p>\n\u003cp>David Gilkey certainly never shied away from conveying those stories, whether there in Afghanistan or Somalia, Haiti, Gaza, Iraq and dozens of other places around the world. He was more than a gifted photographer. He was a gifted storyteller, who understood the power of imagery to enhancing the power of understanding. He will be sorely missed.\u003c/p>\n\u003cp>Teresa and I send our thoughts and prayers for these courageous individuals to their colleagues, friends and families.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Photographer%2C+Interpreter+Killed+In+Afghanistan+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His images were haunting — amid the rubble, he found beauty; amid war, he found humanity.\u003c/p>\n\u003cp>Back in 2010, after he covered the earthquake in Haiti, \u003ca href=\"https://www.youtube.com/watch?v=iZutq7Cvoe4\">he talked about his craft\u003c/a>. The camera, he said, made things easier.\u003c/p>\n\u003cp>“It’s not like you put the camera to your face and therefore it makes what you’re seeing OK, but certainly you can put yourself in a zone,” David said. “It’s hard, but you can’t get caught up in it and become part of it. You still need to maintain your state of mind that you are helping tell this story.”\u003c/p>\n\u003cp>His craft, he said, was about more than journalism.\u003c/p>\n\u003cp>“It’s not just reporting. It’s not just taking pictures,” he said. “It’s do those visuals, do the stories, do they change somebody’s mind enough to take action?”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/about-npr/480860878/npr-statement-on-david-gilkey\">In an email to staff\u003c/a>, Michael Oreskes, NPR’s vice president for news said David died pursuing that commitment.\u003c/p>\n\u003cp>“As a man and as a photojournalist, David brought out the humanity of all those around him,” Michael said. “He let us see the world and each other through his eyes.”\u003c/p>\n\u003cp>Keith Jenkins, the general manager for digital at the National Geographic Society who edited David at NPR, said he and David talked a lot about the dangers of the work David was doing and how much longer he could keep doing it.\u003c/p>\n\u003cp>“Ultimately, he felt it was really important to tell those stories and to tell them to a society that can very often forget that we have people in harm’s way on a daily basis,” Keith said.\u003c/p>\n\u003cp>David also understood those risks.\u003c/p>\n\u003cp>“It’s a very hard thing to put into words, the peace you sort of make with what you’re gonna be doing,” David said. “I’m not saying you walk into these situations and you’re fatalistic about it, but you also are preparing and making decisions based on the sort of level of threat that is there.”\u003c/p>\n\u003cp>Zabihullah, who was known as Zabi, worked as a photojournalist for the Chinese news agency Xinhua. More recently, he wrote for Turkey’s Anadolu News Agency. He wrote the big news — when a new Afghani president was sworn in — but also covered the daily attacks and drone strikes that killed militants and civilians.\u003c/p>\n\u003cp>NPR’s Philip Reeves recruited Zabihullah to NPR. He called him a “great colleague.”\u003c/p>\n\u003cp>“He was a lovely man, with a great eye for a story and deep wisdom about his country,” Philip said. “He clearly loved his family.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Secretary of State John Kerry released the following statement:\u003c/p>\n\u003cblockquote>\n\u003cp>I was saddened to learn today of the death of an NPR photographer, David Gilkey, and his colleague Zabihulla Tamanna, who were part of a crew reporting on Afghan forces in the southern part of the country.\u003c/p>\n\u003cp>This attack is a grim reminder of the danger that continues to face the Afghan people, the dedication of Afghan national defense and security forces to securing their country, and of the courage of intrepid journalists — and their interpreters — who are trying to convey that important story to the rest of the world.\u003c/p>\n\u003cp>David Gilkey certainly never shied away from conveying those stories, whether there in Afghanistan or Somalia, Haiti, Gaza, Iraq and dozens of other places around the world. He was more than a gifted photographer. He was a gifted storyteller, who understood the power of imagery to enhancing the power of understanding. He will be sorely missed.\u003c/p>\n\u003cp>Teresa and I send our thoughts and prayers for these courageous individuals to their colleagues, friends and families.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Photographer%2C+Interpreter+Killed+In+Afghanistan+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Meet the Naturalist Who Sang Like an (Actual) Bird",
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"content": "\u003cp>Charles Kellogg is remembered as a naturalist, a man who spent his life fighting to protect California’s forests in the late 19th and early 20th centuries. But Kellogg’s first claim has to do with his throat, not his activism. It was said that the man came into this world with the vocal chords of a bird.\u003c/p>\n\u003cfigure id=\"attachment_10969649\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"wp-image-10969649\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg\" alt=\"Charles Kellogg travelled around the country telling people about the mighty trees of California.\" width=\"421\" height=\"616\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-400x586.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-960x1406.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles.jpeg 1049w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg traveled around the country telling people about the mighty trees of California. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg was born in Susanville, a small town on the eastern edge of California. It was 1868 and old-growth trees around him were being logged to build towns and cities across the state. Kellogg would later tour the country to raise awareness about the destruction of these beautiful trees. First though, he toured vaudeville stages.\u003c/p>\n\u003cp>Back in the late 19th century, whistling bird songs was a big thing. Performers would imitate birds, or whistle bird songs to music. Kellogg claimed that he had a singular gift as a performer. Unlike others, Kellogg said he did not whistle with his lips, but made the songs with his throat, just like a bird. He opened his mouth and presto! Out came the mellifluous chirpings and songs of our ornithological friends.\u003c/p>\n\u003cp>Now most of us humans have larynges. Kellogg, on the other hand, said he possessed the larynx of a bird, a “syrinx.” Needless to say, your friends at The World According to Sound find this anatomical claim dubious. But back in the day it was a big hit. Kellogg traveled around the world singing his canti d’uccelli in vaudeville shows. The Western world couldn’t get enough of it.\u003c/p>\n\u003cp>Kellogg rose to pop star fame on account of his bird throat, but he is remembered for his conservationism. Always a lover of trees, Kellogg was particularly enamored of that majestic northern Californian evergreen, \u003ca href=\"http://www.conifers.org/cu/Sequoia.php\">sequoia sempervirens\u003c/a>, the giant redwood. The love ran so deep he built an RV out of the trunk of a fallen redwood. In it he traveled across the country -- four times! -- trumpeting the virtues of the sequoia to Americans totally ignorant of the giant tree. This must have taken forever, too. His RV topped out at 18 mph. Good Lord.\u003c/p>\n\u003cfigure id=\"attachment_10969651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10969651\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/finished-log-800x712.jpg\" alt=\"Charles Kellogg built a mobile home from the log of a fallen redwood tree.\" width=\"800\" height=\"712\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-800x712.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-400x356.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-1180x1050.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-960x854.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg built a mobile home from the log of a fallen redwood tree. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg’s so-called Travel Log is a thing of beauty, and arguably the first modern-day mobile home in America. Add that to Kellogg’s quirky list of accomplishments. You can check out Kellogg’s old RV in person at \u003ca href=\"http://humboldtredwoods.org/\">Humboldt Redwoods State Park\u003c/a>. As for this sound, we have it thanks to the Library of Congress, which preserves this bird music along with countless other audio wonders in its extensive sound collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story comes from our friends Chris Hoff and Sam Harnett at \u003ca href=\"http://www.theworldaccordingtosound.org/\">The World According to Sound\u003c/a>. Check out their podcast for more unexpected and delightful audio treats.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charles Kellogg is remembered as a naturalist, a man who spent his life fighting to protect California’s forests in the late 19th and early 20th centuries. But Kellogg’s first claim has to do with his throat, not his activism. It was said that the man came into this world with the vocal chords of a bird.\u003c/p>\n\u003cfigure id=\"attachment_10969649\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"wp-image-10969649\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg\" alt=\"Charles Kellogg travelled around the country telling people about the mighty trees of California.\" width=\"421\" height=\"616\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-400x586.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-960x1406.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles.jpeg 1049w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg traveled around the country telling people about the mighty trees of California. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg was born in Susanville, a small town on the eastern edge of California. It was 1868 and old-growth trees around him were being logged to build towns and cities across the state. Kellogg would later tour the country to raise awareness about the destruction of these beautiful trees. First though, he toured vaudeville stages.\u003c/p>\n\u003cp>Back in the late 19th century, whistling bird songs was a big thing. Performers would imitate birds, or whistle bird songs to music. Kellogg claimed that he had a singular gift as a performer. Unlike others, Kellogg said he did not whistle with his lips, but made the songs with his throat, just like a bird. He opened his mouth and presto! Out came the mellifluous chirpings and songs of our ornithological friends.\u003c/p>\n\u003cp>Now most of us humans have larynges. Kellogg, on the other hand, said he possessed the larynx of a bird, a “syrinx.” Needless to say, your friends at The World According to Sound find this anatomical claim dubious. But back in the day it was a big hit. Kellogg traveled around the world singing his canti d’uccelli in vaudeville shows. The Western world couldn’t get enough of it.\u003c/p>\n\u003cp>Kellogg rose to pop star fame on account of his bird throat, but he is remembered for his conservationism. Always a lover of trees, Kellogg was particularly enamored of that majestic northern Californian evergreen, \u003ca href=\"http://www.conifers.org/cu/Sequoia.php\">sequoia sempervirens\u003c/a>, the giant redwood. The love ran so deep he built an RV out of the trunk of a fallen redwood. In it he traveled across the country -- four times! -- trumpeting the virtues of the sequoia to Americans totally ignorant of the giant tree. This must have taken forever, too. His RV topped out at 18 mph. Good Lord.\u003c/p>\n\u003cfigure id=\"attachment_10969651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10969651\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/finished-log-800x712.jpg\" alt=\"Charles Kellogg built a mobile home from the log of a fallen redwood tree.\" width=\"800\" height=\"712\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-800x712.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-400x356.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-1180x1050.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-960x854.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg built a mobile home from the log of a fallen redwood tree. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg’s so-called Travel Log is a thing of beauty, and arguably the first modern-day mobile home in America. Add that to Kellogg’s quirky list of accomplishments. You can check out Kellogg’s old RV in person at \u003ca href=\"http://humboldtredwoods.org/\">Humboldt Redwoods State Park\u003c/a>. As for this sound, we have it thanks to the Library of Congress, which preserves this bird music along with countless other audio wonders in its extensive sound collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story comes from our friends Chris Hoff and Sam Harnett at \u003ca href=\"http://www.theworldaccordingtosound.org/\">The World According to Sound\u003c/a>. Check out their podcast for more unexpected and delightful audio treats.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/06/TDL20160603.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>June 4\u003c/strong>: Bay Area blues harp player Charlie Musselwhite headlines \u003ca href=\"http://www.jazzonthehill.org/\" target=\"_blank\" rel=\"noopener\">Jazz on the Hill\u003c/a>, the annual free music fest put on by our fellow public radio station (KCSM Jazz 91) at the \u003ca href=\"http://collegeofsanmateo.edu/\" target=\"_blank\" rel=\"noopener\">College of San Mateo\u003c/a>. Also appearing: Etienne Charles and his Creole Soul; the San Francisco Latin Jazz Youth Ensemble; and Lynne Arriale, Grace Kelly, and Charenee Wade doing songs by great women in jazz: Abbey Lincoln, Nina Simone, and Joni Mitchell. Cheap Thrill! Details \u003ca href=\"http://www.jazzonthehill.org/artists.php\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tenX8PiDo-s\u003c/p>\n\u003cp>\u003cstrong>June 3 & 5:\u003c/strong> The tireless Charlie Musselwhite also plays Friday night at Freight and Salvage in Berkeley: Details \u003ca href=\"http://thefreight.org/charlie-musselwhite\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And Sunday he plays Rancho Nicasio: Details\u003ca href=\"http://www.ranchonicasio.com/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fUZvItNwMAQ\u003c/p>\n\u003cp>\u003cstrong>June 3-12:\u003c/strong> It will be hot in wine country this coming week, so a dose of cool jazz and a good Sonoma rosé is in order. The Healdsburg Jazz Festival has become one of the best and most intimate in the Bay Area. There’s a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/31/billy-hart-honored-in-heladsburg-picks-his-five-most-important-recordings/\" target=\"_blank\" rel=\"noopener\">tribute to drummer Billy Hart\u003c/a> (50 years of jazz) Berkeley born guitar wizard Charlie Hunter is there, and pianist Fred Hersch and clarinetist Anat Cohen, perform miracles as a duo. Tickets are selling fast. Details \u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_i3KUfVjAjE\u003c/p>\n\u003cp>\u003cstrong>June 3-19:\u003c/strong> It’s a festival-themed Do List this week. \u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"_blank\" rel=\"noopener\">The San Francisco Ethnic Dance Festival\u003c/a> is the first of two we’re highlighting. The festival celebrates the Bay Area’s enormous ethnic diversity and exceptional dancing from groups like Chinese Performing Arts of America (San Jose), the San Francisco Flamenco Dance Company, Kathak from San Franciscan Aliah Najmabadi, and many others over the next three weekends. It opens with a free performance at noon today by El Tunante (Peruvian dance) at San Francisco City Hall. Details \u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/127576119\u003c/p>\n\u003cp>\u003cstrong>June 3 & 4:\u003c/strong> That trove of dance creativity, ODC, opens its fifth \u003ca href=\"https://www.odcdance.org/performance.php?param=275\" target=\"_blank\" rel=\"noopener\">Walking Distance Dance Festival\u003c/a> tonight, with a focus on “Identity.” The festival showcases work by ODC/Dance, Kim Epifano’s Epiphany Productions, Dance Brigade, 13th Floor, David Herrera Performance Company, and Smith/Wymore Disappearing Acts all at locations in the Mission within walking distance of ODC’s home campus at 17th and Shotwell in San Francisco. Details \u003ca href=\"https://www.odcdance.org/performance.php?param=275\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C7l-xs2GF-0\u003c/p>\n\u003cp>\u003cstrong>June 5:\u003c/strong> Cymande is back on the road. Last year, this British funk band put out its first studio album in forty years. But they haven’t lost their smooth and soulful touch. The band has mostly stuck together: Steve Scipio (Bass, vocals) Patrick Patterson (Guitar, vocals) Sam Kelly (Drums) Mike Rose (Sax, flute, percussion) Pablo Gonsales (Percussion, vocals) and Derek Gibbs (Sax), and they combine a little Calypso, a little reggae, a little Curtis Mayfield, and a bit of smooth jazz. Details for their show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/308513\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g7NIvS4IBdc\u003c/p>\n\u003cp>\u003cstrong>June 4 & 7\u003c/strong>: \u003ca href=\"http://www.natashaleggero.com/\" target=\"_blank\" rel=\"noopener\">Natasha Leggero\u003c/a> and the Bay Area’s own \u003ca href=\"http://moshekasher.com/\" target=\"_blank\" rel=\"noopener\">Moshe Kasher \u003c/a>are both alums of \u003cem>Chelsea Lately; t\u003c/em>hey’re also newly married and on their “Honeymoon tour.” Leggero has been talking (see the \u003cem>Conan\u003c/em> clip above) about converting to Judaism for the marriage, and pioneering new (and humorous) ways to offend Jews and Catholics alike. While on tour, Kasher claims they’re camping out some nights in a little camper trailer (\u003ca href=\"http://www.scamptrailers.com/\" target=\"_blank\" rel=\"noopener\">a Scamp\u003c/a>). This should be like \u003ca href=\"https://www.youtube.com/watch?v=yDCjhLOaNZI\" target=\"_blank\" rel=\"noopener\">Burns and Allen\u003c/a> with naughty words. Details for their sol- out New Parish show on Saturday are \u003ca href=\"http://thenewparish.com/event.cfm?id=232899&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for their show at Matthews Hall in Santa Cruz \u003ca href=\"http://www.brownpapertickets.com/event/2512423\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3B4FSeeXUaE\u003c/p>\n\u003cp>\u003cstrong>June 3: \u003c/strong>Oakland blues man \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a> wants to give back. After winning NPR’s Tiny Desk Contest last year, he won praise for his work at SXSW, and then toured the US and Europe. Now he’s released a new album, \u003ca href=\"http://www.npr.org/2016/05/26/478235309/first-listen-fantastic-negrito-the-last-days-of-oakland\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Days of Oakland\u003c/em>\u003c/a>, about how gentrification is driving African Americans and artists like himself out of the city. “That era of the Bay Area in Oakland that I grew up with,” he told me, “That’s over. There’s something new now. And I look at it as an opportunity for us all to collectively get together and make some sense out of it. So when I say ‘the last days of Oakland,’ I mean it in a very hopeful way. I want to look at how we can make things happen. Not how we can’t.” He’ll kick off that conversation in a free concert at First Fridays Oakland. Details \u003ca href=\"http://oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11641752\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-630x600.jpg\" alt=\"East Bay Open Studios 2016\" width=\"630\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-630x600.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-400x381.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-768x732.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604.jpg 781w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">East Bay Open Studios 2016 \u003ccite>(Photo: Courtesy Pro-Arts Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 4-12:\u003c/strong> After you recover from First Friday, stay in the East Bay and hit some artist studios. \u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\">Pro-Arts \u003c/a>in Oakland sponsors this opportunity to visit and support your local artist over the next two weekends, and keep them from being priced out of the Bay Area. Details \u003ca href=\"http://www.proartsgallery.org/ebos/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>June 4\u003c/strong>: Bay Area blues harp player Charlie Musselwhite headlines \u003ca href=\"http://www.jazzonthehill.org/\" target=\"_blank\" rel=\"noopener\">Jazz on the Hill\u003c/a>, the annual free music fest put on by our fellow public radio station (KCSM Jazz 91) at the \u003ca href=\"http://collegeofsanmateo.edu/\" target=\"_blank\" rel=\"noopener\">College of San Mateo\u003c/a>. Also appearing: Etienne Charles and his Creole Soul; the San Francisco Latin Jazz Youth Ensemble; and Lynne Arriale, Grace Kelly, and Charenee Wade doing songs by great women in jazz: Abbey Lincoln, Nina Simone, and Joni Mitchell. Cheap Thrill! Details \u003ca href=\"http://www.jazzonthehill.org/artists.php\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tenX8PiDo-s'\n title='//www.youtube.com/embed/tenX8PiDo-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 3 & 5:\u003c/strong> The tireless Charlie Musselwhite also plays Friday night at Freight and Salvage in Berkeley: Details \u003ca href=\"http://thefreight.org/charlie-musselwhite\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And Sunday he plays Rancho Nicasio: Details\u003ca href=\"http://www.ranchonicasio.com/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fUZvItNwMAQ'\n title='//www.youtube.com/embed/fUZvItNwMAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 3-12:\u003c/strong> It will be hot in wine country this coming week, so a dose of cool jazz and a good Sonoma rosé is in order. The Healdsburg Jazz Festival has become one of the best and most intimate in the Bay Area. There’s a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/31/billy-hart-honored-in-heladsburg-picks-his-five-most-important-recordings/\" target=\"_blank\" rel=\"noopener\">tribute to drummer Billy Hart\u003c/a> (50 years of jazz) Berkeley born guitar wizard Charlie Hunter is there, and pianist Fred Hersch and clarinetist Anat Cohen, perform miracles as a duo. Tickets are selling fast. Details \u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>June 3 & 4:\u003c/strong> That trove of dance creativity, ODC, opens its fifth \u003ca href=\"https://www.odcdance.org/performance.php?param=275\" target=\"_blank\" rel=\"noopener\">Walking Distance Dance Festival\u003c/a> tonight, with a focus on “Identity.” The festival showcases work by ODC/Dance, Kim Epifano’s Epiphany Productions, Dance Brigade, 13th Floor, David Herrera Performance Company, and Smith/Wymore Disappearing Acts all at locations in the Mission within walking distance of ODC’s home campus at 17th and Shotwell in San Francisco. Details \u003ca href=\"https://www.odcdance.org/performance.php?param=275\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C7l-xs2GF-0'\n title='//www.youtube.com/embed/C7l-xs2GF-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 5:\u003c/strong> Cymande is back on the road. Last year, this British funk band put out its first studio album in forty years. But they haven’t lost their smooth and soulful touch. The band has mostly stuck together: Steve Scipio (Bass, vocals) Patrick Patterson (Guitar, vocals) Sam Kelly (Drums) Mike Rose (Sax, flute, percussion) Pablo Gonsales (Percussion, vocals) and Derek Gibbs (Sax), and they combine a little Calypso, a little reggae, a little Curtis Mayfield, and a bit of smooth jazz. Details for their show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/308513\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g7NIvS4IBdc'\n title='//www.youtube.com/embed/g7NIvS4IBdc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 4 & 7\u003c/strong>: \u003ca href=\"http://www.natashaleggero.com/\" target=\"_blank\" rel=\"noopener\">Natasha Leggero\u003c/a> and the Bay Area’s own \u003ca href=\"http://moshekasher.com/\" target=\"_blank\" rel=\"noopener\">Moshe Kasher \u003c/a>are both alums of \u003cem>Chelsea Lately; t\u003c/em>hey’re also newly married and on their “Honeymoon tour.” Leggero has been talking (see the \u003cem>Conan\u003c/em> clip above) about converting to Judaism for the marriage, and pioneering new (and humorous) ways to offend Jews and Catholics alike. While on tour, Kasher claims they’re camping out some nights in a little camper trailer (\u003ca href=\"http://www.scamptrailers.com/\" target=\"_blank\" rel=\"noopener\">a Scamp\u003c/a>). This should be like \u003ca href=\"https://www.youtube.com/watch?v=yDCjhLOaNZI\" target=\"_blank\" rel=\"noopener\">Burns and Allen\u003c/a> with naughty words. Details for their sol- out New Parish show on Saturday are \u003ca href=\"http://thenewparish.com/event.cfm?id=232899&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for their show at Matthews Hall in Santa Cruz \u003ca href=\"http://www.brownpapertickets.com/event/2512423\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3B4FSeeXUaE'\n title='//www.youtube.com/embed/3B4FSeeXUaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 3: \u003c/strong>Oakland blues man \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a> wants to give back. After winning NPR’s Tiny Desk Contest last year, he won praise for his work at SXSW, and then toured the US and Europe. Now he’s released a new album, \u003ca href=\"http://www.npr.org/2016/05/26/478235309/first-listen-fantastic-negrito-the-last-days-of-oakland\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Days of Oakland\u003c/em>\u003c/a>, about how gentrification is driving African Americans and artists like himself out of the city. “That era of the Bay Area in Oakland that I grew up with,” he told me, “That’s over. There’s something new now. And I look at it as an opportunity for us all to collectively get together and make some sense out of it. So when I say ‘the last days of Oakland,’ I mean it in a very hopeful way. I want to look at how we can make things happen. Not how we can’t.” He’ll kick off that conversation in a free concert at First Fridays Oakland. Details \u003ca href=\"http://oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11641752\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-630x600.jpg\" alt=\"East Bay Open Studios 2016\" width=\"630\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-630x600.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-400x381.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604-768x732.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Open-Studios-2016-e1464906803604.jpg 781w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">East Bay Open Studios 2016 \u003ccite>(Photo: Courtesy Pro-Arts Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 4-12:\u003c/strong> After you recover from First Friday, stay in the East Bay and hit some artist studios. \u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\">Pro-Arts \u003c/a>in Oakland sponsors this opportunity to visit and support your local artist over the next two weekends, and keep them from being priced out of the Bay Area. Details \u003ca href=\"http://www.proartsgallery.org/ebos/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Starting June 5, San Jose’s \u003ca href=\"http://sjica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Institute of Contemporary Art\u003c/a> showcases three different exhibitions exploring paper as art, in all its forms: bent, broken, cut, glued, sewn, painted, photographed, manufactured and quite often used as a construction material.\u003c/p>\n\u003cp>There are three exhibitions in three different gallery spaces at the institute, each with its own focus.\u003c/p>\n\u003cp>\u003ca href=\"http://www.maryellenbartley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Ellen Bartley\u003c/a> (see above) is the only artist to get an exhibition all to herself. A photographer, Bartley snaps books standing on their ends with their pages separated, essentially creating abstract and dreamy compositions. Bartley was inspired by a 2008 Met retrospective on \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2008/giorgio-morandi\" target=\"_blank\" rel=\"noopener noreferrer\">Giorgio Morandi\u003c/a>, the Italian painter and printmaker known for the tonal subtlety of his still lifes.\u003c/p>\n\u003cp>The 19 artists featured in \u003cem>Next New Paper\u003c/em> use paper as their medium. The 28 artists in \u003cem>This is Not a Book: Chapter Two\u003c/em> alter books to create something else entirely. All three exhibitions “complement each other so beautifully,” says Cathy Kimball, ICA’s Executive Director and Chief Curator. “They all speak to each other, but they’re very distinct.”\u003c/p>\n\u003cfigure id=\"attachment_11638675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg\" alt=\"New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable. \u003ccite>(Photo: Courtesy of Jann Nunn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art is drawn from all over the world, but one of the most charming sculptures in Next New Paper comes from \u003ca href=\"http://jann-nunn.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Jann Nunn\u003c/a> of Oakland. She teaches sculpture at Sonoma State University and a librarian there clued her in to a stash of archival microprint paper (similar to microfiche) otherwise headed for a landfill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nunn has painstakingly, individually cut the coated paper sheets to construct hanging mobiles. In between each sheet is a little spacer, lending a light-filled, buoyant quality to the forms. It gives a whole new meaning to the phrase “reduce, reuse, recycle.”\u003c/p>\n\u003cp>Guest curator \u003ca href=\"http://www.seagergray.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Seager\u003c/a> was brought in to put together \u003cem>This is Not a Book: Chapter Two\u003c/em>. “A lot of these artists are interested in the anatomy of the book,” says ICA Curator Patricia Cariño. Especially for those who consider books sacred objects, the ways in which they are used and abused to create something new can be startling, even shocking, even though the end result is typically beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11638680\" class=\"wp-caption aligncenter\" style=\"max-width: 611px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg\" alt='Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inkedand folded book, 9x9x6\".' width=\"611\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-64x64.jpg 64w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003cfigcaption class=\"wp-caption-text\">Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inked and folded book, 9x9x6″. \u003ccite>(Photo: Courtesy of Jim and Kelly Polisson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jacquelinerushlee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Rush Lee\u003c/a> is a Hawaii-based sculptor who uses books as raw material to create conceptual art forms. In this case, the book’s pages were repeatedly soaked with ink until they became something else entirely. She then helps the book adopt another form even further removed from its original shape.\u003c/p>\n\u003cp>[contextly_sidebar id=”Ykbwd6bcHOVcxEpqus5VeUm7yngbh9W3″]As Lee writes on her web site, she completely transforms the book “into an abstract, poetic object with an entirely new narrative.” In a similar vein, other artists in \u003cem>This is Not a Book\u003c/em> use books to form everything from pillows to textiles to three-dimensional landscapes. Some of the artists make use of the letters. Others don’t crack open the books, except in a structural fashion.\u003c/p>\n\u003cp>“In some of these works, the text is pertinent to the work,” Kimball says. With Lee’s work, “not so much.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This is Not a Book: Chapter Two, Next New Paper and Mary Ellen Bartley: Looking Between the Covers\u003c/strong> all open June 5th at the San Jose Institute of Contemporary Art. For more information, head \u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting June 5, San Jose’s \u003ca href=\"http://sjica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Institute of Contemporary Art\u003c/a> showcases three different exhibitions exploring paper as art, in all its forms: bent, broken, cut, glued, sewn, painted, photographed, manufactured and quite often used as a construction material.\u003c/p>\n\u003cp>There are three exhibitions in three different gallery spaces at the institute, each with its own focus.\u003c/p>\n\u003cp>\u003ca href=\"http://www.maryellenbartley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Ellen Bartley\u003c/a> (see above) is the only artist to get an exhibition all to herself. A photographer, Bartley snaps books standing on their ends with their pages separated, essentially creating abstract and dreamy compositions. Bartley was inspired by a 2008 Met retrospective on \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2008/giorgio-morandi\" target=\"_blank\" rel=\"noopener noreferrer\">Giorgio Morandi\u003c/a>, the Italian painter and printmaker known for the tonal subtlety of his still lifes.\u003c/p>\n\u003cp>The 19 artists featured in \u003cem>Next New Paper\u003c/em> use paper as their medium. The 28 artists in \u003cem>This is Not a Book: Chapter Two\u003c/em> alter books to create something else entirely. All three exhibitions “complement each other so beautifully,” says Cathy Kimball, ICA’s Executive Director and Chief Curator. “They all speak to each other, but they’re very distinct.”\u003c/p>\n\u003cfigure id=\"attachment_11638675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg\" alt=\"New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable. \u003ccite>(Photo: Courtesy of Jann Nunn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art is drawn from all over the world, but one of the most charming sculptures in Next New Paper comes from \u003ca href=\"http://jann-nunn.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Jann Nunn\u003c/a> of Oakland. She teaches sculpture at Sonoma State University and a librarian there clued her in to a stash of archival microprint paper (similar to microfiche) otherwise headed for a landfill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nunn has painstakingly, individually cut the coated paper sheets to construct hanging mobiles. In between each sheet is a little spacer, lending a light-filled, buoyant quality to the forms. It gives a whole new meaning to the phrase “reduce, reuse, recycle.”\u003c/p>\n\u003cp>Guest curator \u003ca href=\"http://www.seagergray.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Seager\u003c/a> was brought in to put together \u003cem>This is Not a Book: Chapter Two\u003c/em>. “A lot of these artists are interested in the anatomy of the book,” says ICA Curator Patricia Cariño. Especially for those who consider books sacred objects, the ways in which they are used and abused to create something new can be startling, even shocking, even though the end result is typically beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11638680\" class=\"wp-caption aligncenter\" style=\"max-width: 611px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg\" alt='Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inkedand folded book, 9x9x6\".' width=\"611\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19641_Not-a-Book-Jaqueline-Rush-Lee-qut-64x64.jpg 64w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003cfigcaption class=\"wp-caption-text\">Anthologia (2007), by Jacqueline Rush Lee. Reassembled, inked and folded book, 9x9x6″. \u003ccite>(Photo: Courtesy of Jim and Kelly Polisson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jacquelinerushlee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Rush Lee\u003c/a> is a Hawaii-based sculptor who uses books as raw material to create conceptual art forms. In this case, the book’s pages were repeatedly soaked with ink until they became something else entirely. She then helps the book adopt another form even further removed from its original shape.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>As Lee writes on her web site, she completely transforms the book “into an abstract, poetic object with an entirely new narrative.” In a similar vein, other artists in \u003cem>This is Not a Book\u003c/em> use books to form everything from pillows to textiles to three-dimensional landscapes. Some of the artists make use of the letters. Others don’t crack open the books, except in a structural fashion.\u003c/p>\n\u003cp>“In some of these works, the text is pertinent to the work,” Kimball says. With Lee’s work, “not so much.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This is Not a Book: Chapter Two, Next New Paper and Mary Ellen Bartley: Looking Between the Covers\u003c/strong> all open June 5th at the San Jose Institute of Contemporary Art. For more information, head \u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A lawyer representing the family of an Emeryville muralist who was fatally shot last year announced Thursday that he was filing a claim against Immigration and Customs Enforcement (ICE) over the fact that the gun used to kill the artist was stolen from an agent’s vehicle.\u003c/p>\n\u003cp>[contextly_sidebar id=”5v5tvX6HV0GiK3XJJL5Txz0cjG2HiUwq”]\u003c/p>\n\u003cp>Attorney Frank Pitre of the law firm Cotchett, Pitre & McCarthy told reporters that he was taking steps towards filing a lawsuit against ICE on behalf of the family of Antonio “Tony” Ramos. The 27-year-old street artist was killed last September with a gun that an ICE agent had not properly stored.\u003c/p>\n\u003cp>“This is a problem, regrettably that has happened far too often, and it’s something that’s plagued the department of Homeland Security, including ICE,” Pitre said. “Out of the 243 weapons deemed lost, those guns were lost because officers did not properly secure them.”\u003c/p>\n\u003cp>Ramos was killed on Sept. 29 while working on a large anti-violence mural on the West Street underpass in North Oakland. Witnesses said that before the shooting, Ramos was talking with a man, later identified as 20-year-old suspected serial robber Marquise Holloway.\u003c/p>\n\u003cfigure id=\"attachment_11641375\" class=\"wp-caption alignright\" style=\"max-width: 384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11641375\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Marquis-Halloway.jpg\" alt=\"Murder suspect Marquise Holloway, 20\" width=\"384\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Murder suspect Marquise Holloway, 20 \u003ccite>(Photo: Courtesy of Alameda County Sheriff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holloway was subsequently arrested and charged with Ramos’ murder, and the firearm that was used in the shooting was on Holloway when he was picked up by police. The 9mm Glock 26 pistol was later identified as one stolen from the ICE agent’s car weeks before the shooting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitre said the gun was left in a car, inside a bag without any locks, which is a violation of mandatory policies regarding the securing and storing of a firearm.\u003c/p>\n\u003cp>“Guns stolen from law enforcement officers who do not have their weapons secured end up in the wrong hands and the regrettable result is that people are killed,” Pitre said. “These people don’t take these guns for target practice, they take them to commit crimes.”\u003c/p>\n\u003cp>Pitre also represents the family of Kathryn Steinle, the 32-year-old San Francisco resident who was reportedly shot and killed by an undocumented immigrant last July. The shooting suspect, Juan Francisco Lopez-Sanchez, allegedly used a gun stolen from the vehicle of a ranger from the federal Bureau of Land Management.\u003c/p>\n\u003cp>On Sunday, FBI agents scrambled to locate a .40-caliber Glock handgun that was stolen from an agent’s vehicle in San Francisco’s Alamo Square. They located the handgun on Tuesday and \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-fbi-gun-stolen-san-francisco-20160531-snap-story.html\" target=\"_blank\" rel=\"noopener\">the suspected thief was arrested\u003c/a>.\u003c/p>\n\u003cp>A representative from ICE did not reply to requests for comment on Pitre’s claims by press time. \u003cb>UPDATE:\u003c/b> ICE public relations officer Lori K. Haley wrote KQED to say, “Per our agency’s policy, we are unable to comment on pending litigation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Holloway will appear again in court for a hearing on Monday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lawyer representing the family of an Emeryville muralist who was fatally shot last year announced Thursday that he was filing a claim against Immigration and Customs Enforcement (ICE) over the fact that the gun used to kill the artist was stolen from an agent’s vehicle.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Attorney Frank Pitre of the law firm Cotchett, Pitre & McCarthy told reporters that he was taking steps towards filing a lawsuit against ICE on behalf of the family of Antonio “Tony” Ramos. The 27-year-old street artist was killed last September with a gun that an ICE agent had not properly stored.\u003c/p>\n\u003cp>“This is a problem, regrettably that has happened far too often, and it’s something that’s plagued the department of Homeland Security, including ICE,” Pitre said. “Out of the 243 weapons deemed lost, those guns were lost because officers did not properly secure them.”\u003c/p>\n\u003cp>Ramos was killed on Sept. 29 while working on a large anti-violence mural on the West Street underpass in North Oakland. Witnesses said that before the shooting, Ramos was talking with a man, later identified as 20-year-old suspected serial robber Marquise Holloway.\u003c/p>\n\u003cfigure id=\"attachment_11641375\" class=\"wp-caption alignright\" style=\"max-width: 384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11641375\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Marquis-Halloway.jpg\" alt=\"Murder suspect Marquise Holloway, 20\" width=\"384\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Murder suspect Marquise Holloway, 20 \u003ccite>(Photo: Courtesy of Alameda County Sheriff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holloway was subsequently arrested and charged with Ramos’ murder, and the firearm that was used in the shooting was on Holloway when he was picked up by police. The 9mm Glock 26 pistol was later identified as one stolen from the ICE agent’s car weeks before the shooting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pitre said the gun was left in a car, inside a bag without any locks, which is a violation of mandatory policies regarding the securing and storing of a firearm.\u003c/p>\n\u003cp>“Guns stolen from law enforcement officers who do not have their weapons secured end up in the wrong hands and the regrettable result is that people are killed,” Pitre said. “These people don’t take these guns for target practice, they take them to commit crimes.”\u003c/p>\n\u003cp>Pitre also represents the family of Kathryn Steinle, the 32-year-old San Francisco resident who was reportedly shot and killed by an undocumented immigrant last July. The shooting suspect, Juan Francisco Lopez-Sanchez, allegedly used a gun stolen from the vehicle of a ranger from the federal Bureau of Land Management.\u003c/p>\n\u003cp>On Sunday, FBI agents scrambled to locate a .40-caliber Glock handgun that was stolen from an agent’s vehicle in San Francisco’s Alamo Square. They located the handgun on Tuesday and \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-fbi-gun-stolen-san-francisco-20160531-snap-story.html\" target=\"_blank\" rel=\"noopener\">the suspected thief was arrested\u003c/a>.\u003c/p>\n\u003cp>A representative from ICE did not reply to requests for comment on Pitre’s claims by press time. \u003cb>UPDATE:\u003c/b> ICE public relations officer Lori K. Haley wrote KQED to say, “Per our agency’s policy, we are unable to comment on pending litigation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Holloway will appear again in court for a hearing on Monday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tests show that Prince died of an opioid overdose, a law-enforcement official told The Associated Press on Thursday.\u003c/p>\n\u003cp>The 57-year-old singer was found dead April 21 at his Minneapolis-area estate.\u003c/p>\n\u003cp>The official, who is close to the investigation, spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>[contextly_sidebar id=”6tD3AV6PyZDxvtsLAlsIoj3MVopKRow1″]\u003c/p>\n\u003cp>The findings confirm suspicions that opioids played a role in the musician’s death. After he died, authorities began reviewing whether an overdose was to blame and whether he had been prescribed drugs in the preceding weeks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince’s death came less than a week after his plane made an emergency stop in Moline, Illinois, for medical treatment as he was returning from an Atlanta concert. The Associated Press and other media reported, based on anonymous sources, that Prince was found unconscious on the plane, and first responders gave him a shot of Narcan, an antidote used in suspected opioid overdoses.\u003c/p>\n\u003cp>At least two doctors’ names have come up in the death investigation being conducted by the Carver County Sheriff’s Office, the U.S. Attorney’s Office in Minnesota and the Drug Enforcement Administration.\u003c/p>\n\u003cp>Dr. Michael Todd Schulenberg, a family practitioner, treated Prince twice in the weeks before his death and told investigators he prescribed medications for the singer. The medications were not specified in a search warrant for the Minnesota hospital that employed Schulenberg at the time.\u003c/p>\n\u003cp>Schulenberg saw Prince April 7 and April 20 — the day before his death — according to the warrant. Schulenberg’s attorney has declined to comment on the case.\u003c/p>\n\u003cp>Dr. Howard Kornfeld, a California addiction specialist, was asked by Prince’s representatives on April 20 to help the singer.\u003c/p>\n\u003cp>Kornfeld sent his son Andrew on a redeye flight that night, and Andrew was among the people who found Prince’s unresponsive body the next morning, according to Kornfeld’s attorney, William Mauzy.\u003c/p>\n\u003cp>The younger Kornfeld, who is not a doctor, was carrying buprenorphine, a medication that can be used to treat opioid addiction by easing cravings and withdrawal symptoms, Mauzy said, explaining that Andrew Kornfeld intended to give the medication to a Minnesota doctor who had cleared his schedule to see Prince on April 21.\u003c/p>\n\u003cp>Mauzy has refused to identify that doctor. Schulenberg is not authorized to prescribe buprenorphine.\u003c/p>\n\u003cp>Prince’s death came two weeks after he canceled concerts in Atlanta, saying he wasn’t feeling well. He played a pair of makeup shows April 14 in that city, and then came the emergency landing in Moline. He was scheduled to perform two shows in St. Louis but canceled them shortly before his death.\u003c/p>\n\u003cp>The superstar had a reputation for clean living, and some friends said they never saw any sign of drug use. But longtime friend and collaborator Sheila E. has told the AP that Prince had physical issues from performing, citing hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\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>\u003c/p>\n\u003cp>Prince’s death came less than a week after his plane made an emergency stop in Moline, Illinois, for medical treatment as he was returning from an Atlanta concert. The Associated Press and other media reported, based on anonymous sources, that Prince was found unconscious on the plane, and first responders gave him a shot of Narcan, an antidote used in suspected opioid overdoses.\u003c/p>\n\u003cp>At least two doctors’ names have come up in the death investigation being conducted by the Carver County Sheriff’s Office, the U.S. Attorney’s Office in Minnesota and the Drug Enforcement Administration.\u003c/p>\n\u003cp>Dr. Michael Todd Schulenberg, a family practitioner, treated Prince twice in the weeks before his death and told investigators he prescribed medications for the singer. The medications were not specified in a search warrant for the Minnesota hospital that employed Schulenberg at the time.\u003c/p>\n\u003cp>Schulenberg saw Prince April 7 and April 20 — the day before his death — according to the warrant. Schulenberg’s attorney has declined to comment on the case.\u003c/p>\n\u003cp>Dr. Howard Kornfeld, a California addiction specialist, was asked by Prince’s representatives on April 20 to help the singer.\u003c/p>\n\u003cp>Kornfeld sent his son Andrew on a redeye flight that night, and Andrew was among the people who found Prince’s unresponsive body the next morning, according to Kornfeld’s attorney, William Mauzy.\u003c/p>\n\u003cp>The younger Kornfeld, who is not a doctor, was carrying buprenorphine, a medication that can be used to treat opioid addiction by easing cravings and withdrawal symptoms, Mauzy said, explaining that Andrew Kornfeld intended to give the medication to a Minnesota doctor who had cleared his schedule to see Prince on April 21.\u003c/p>\n\u003cp>Mauzy has refused to identify that doctor. Schulenberg is not authorized to prescribe buprenorphine.\u003c/p>\n\u003cp>Prince’s death came two weeks after he canceled concerts in Atlanta, saying he wasn’t feeling well. He played a pair of makeup shows April 14 in that city, and then came the emergency landing in Moline. He was scheduled to perform two shows in St. Louis but canceled them shortly before his death.\u003c/p>\n\u003cp>The superstar had a reputation for clean living, and some friends said they never saw any sign of drug use. But longtime friend and collaborator Sheila E. has told the AP that Prince had physical issues from performing, citing hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\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>A New Jersey school district is investigating how rapper Fetty Wap was allowed to record a music video that included drug references and a pole dancer in his old high school.\u003c/p>\n\u003cp>The Paterson native released the video for “Wake Up” last week.\u003c/p>\n\u003cp>Paterson school district spokeswoman Terry Corallo \u003ca href=\"http://www.nj.com/passaic-county/index.ssf/2016/06/should_this_fetty_wap_video_been_filmed_in_a_pater.html#incart_2box_nj-homepage-featured\" target=\"_blank\" rel=\"noopener\">told NJ.com\u003c/a> the district is investigating whether procedures were followed in allowing parts of the video to be recorded at Eastside High School. Fetty Wap dropped out of the school.\u003c/p>\n\u003cp>Corallo said the district doesn’t endorse the content of the video. It was shot during non-instructional hours and didn’t include students, she said.\u003c/p>\n\u003cp>The video released April 20 includes numerous drug references and features a scantily clad woman dancing on a pole inside a classroom. Numerous banners and posters seen in the video read, “Go Team Kush,” which references a strain of marijuana.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Toward the end of the video, a woman presumed to be a teacher takes an apple from her desk and uses it as a bong.\u003c/p>\n\u003cp>Some community leaders questioned why a video they say glamorizes negative behaviors was allowed to be filmed at the school.\u003c/p>\n\u003cp>“I’m from Paterson and I’m proud of his success, but as a parent and school board member I think it sends the wrong message,” Kenneth Simmons told The Record. “To me, it glorifies dropping out of high school and getting high.”\u003c/p>\n\u003cp>In a statement issued Wednesday afternoon, the rapper defended his actions.\u003c/p>\n\u003cp>“I went back to my old high school because I love my city,” he said. “I wanted to show the students of Paterson that someone who walked those same hallways they walk every day and sat in the same classrooms shown in the video has become successful. If I can do it they can do it too.”\u003c/p>\n\u003cp>His recording label, 300 Entertainment, also voiced support for Wap.\u003c/p>\n\u003cp>The label “encourages and champions artistic expression and creativity from our artists,” the company said.\u003c/p>\n\u003cp>Fetty Wap performed a free show for city high school students in August.\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>A New Jersey school district is investigating how rapper Fetty Wap was allowed to record a music video that included drug references and a pole dancer in his old high school.\u003c/p>\n\u003cp>The Paterson native released the video for “Wake Up” last week.\u003c/p>\n\u003cp>Paterson school district spokeswoman Terry Corallo \u003ca href=\"http://www.nj.com/passaic-county/index.ssf/2016/06/should_this_fetty_wap_video_been_filmed_in_a_pater.html#incart_2box_nj-homepage-featured\" target=\"_blank\" rel=\"noopener\">told NJ.com\u003c/a> the district is investigating whether procedures were followed in allowing parts of the video to be recorded at Eastside High School. Fetty Wap dropped out of the school.\u003c/p>\n\u003cp>Corallo said the district doesn’t endorse the content of the video. It was shot during non-instructional hours and didn’t include students, she said.\u003c/p>\n\u003cp>The video released April 20 includes numerous drug references and features a scantily clad woman dancing on a pole inside a classroom. Numerous banners and posters seen in the video read, “Go Team Kush,” which references a strain of marijuana.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Toward the end of the video, a woman presumed to be a teacher takes an apple from her desk and uses it as a bong.\u003c/p>\n\u003cp>Some community leaders questioned why a video they say glamorizes negative behaviors was allowed to be filmed at the school.\u003c/p>\n\u003cp>“I’m from Paterson and I’m proud of his success, but as a parent and school board member I think it sends the wrong message,” Kenneth Simmons told The Record. “To me, it glorifies dropping out of high school and getting high.”\u003c/p>\n\u003cp>In a statement issued Wednesday afternoon, the rapper defended his actions.\u003c/p>\n\u003cp>“I went back to my old high school because I love my city,” he said. “I wanted to show the students of Paterson that someone who walked those same hallways they walk every day and sat in the same classrooms shown in the video has become successful. If I can do it they can do it too.”\u003c/p>\n\u003cp>His recording label, 300 Entertainment, also voiced support for Wap.\u003c/p>\n\u003cp>The label “encourages and champions artistic expression and creativity from our artists,” the company said.\u003c/p>\n\u003cp>Fetty Wap performed a free show for city high school students in August.\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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"title": "Lawyers Say Johnny Depp's Wife Gave Statement to Police",
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"content": "\u003cp>Johnny Depp’s estranged wife has given Los Angeles police a statement to support her account of an alleged domestic violence incident involving the actor, her lawyers said Tuesday.\u003c/p>\n\u003cp>Attorneys Samantha Spector and Joseph P. Koenig wrote in a statement that model-actress Amber Heard had spoken to Los Angeles police. The statement did not indicate when Heard gave the statement, and the Los Angeles Police Department says it has no information about Heard speaking with officers.\u003c/p>\n\u003cp>“With her statement Amber hopes to give the LAPD the opportunity to conduct an accurate and complete investigation into the events of that evening and before,” Heard’s lawyers wrote. “If that occurs, and the truth is revealed, there is no doubt that Amber’s claims will be substantiated beyond any doubt, and hopefully Johnny will get the help that he so desperately needs.”\u003c/p>\n\u003cp>Heard obtained a temporary restraining order against Depp on Friday, alleging the actor threw her cell phone at her face, striking her below the right eye during a fight on May 21.\u003c/p>\n\u003cp>Los Angeles police have said they responded to the incident but found no evidence of a crime.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spector and Koenig wrote that Heard did not initially give a statement to police because she was trying to protect Depp’s reputation and career.\u003c/p>\n\u003cp>An email message sent to Depp’s publicist was not immediately returned Tuesday.\u003c/p>\n\u003cp>Heard submitted a photo of her bruised face when she applied for the restraining order. She also wrote that the actor pulled her hair, screamed at her and repeatedly hit her and violently grabbed her face.\u003c/p>\n\u003cp>She appeared at a Los Angeles court on Friday and had a bruise on her right cheek below the eye.\u003c/p>\n\u003cp>Heard filed for divorce on May 23, two days after the alleged abuse, citing irreconcilable differences. Depp’s lawyer has accused Heard of using the abuse allegations to try to gain an advantage on the actor in divorce proceedings. She is seeking spousal support, but Depp is asking a judge to deny that request.\u003c/p>\n\u003cp>“Amber is simply a victim of domestic violence, and none of her actions are motivated by money,” Heard’s lawyers wrote. “Amber is a brave and financially independent woman who is showing the courage of her convictions by doing the right thing against Johnny’s relentless army of lawyers and surrogates.”\u003c/p>\n\u003cp>Heard and Depp met on the set of the 2011 film “The Rum Diary” and were married for 15 months before the divorce petition was filed. Heard wrote that May 21, the day of the alleged assault, was the first time she had seen Depp in a month.\u003c/p>\n\u003cp>Depp is traveling overseas on tour with his band, Hollywood Vampires. His latest film, \u003cem>Alice Through the Looking Glass\u003c/em> bombed at the box office, earning just over $28.1 million in its opening weekend, according to figures released Sunday.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Writer Sandy Cohen contributed to this report. \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>Johnny Depp’s estranged wife has given Los Angeles police a statement to support her account of an alleged domestic violence incident involving the actor, her lawyers said Tuesday.\u003c/p>\n\u003cp>Attorneys Samantha Spector and Joseph P. Koenig wrote in a statement that model-actress Amber Heard had spoken to Los Angeles police. The statement did not indicate when Heard gave the statement, and the Los Angeles Police Department says it has no information about Heard speaking with officers.\u003c/p>\n\u003cp>“With her statement Amber hopes to give the LAPD the opportunity to conduct an accurate and complete investigation into the events of that evening and before,” Heard’s lawyers wrote. “If that occurs, and the truth is revealed, there is no doubt that Amber’s claims will be substantiated beyond any doubt, and hopefully Johnny will get the help that he so desperately needs.”\u003c/p>\n\u003cp>Heard obtained a temporary restraining order against Depp on Friday, alleging the actor threw her cell phone at her face, striking her below the right eye during a fight on May 21.\u003c/p>\n\u003cp>Los Angeles police have said they responded to the incident but found no evidence of a crime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spector and Koenig wrote that Heard did not initially give a statement to police because she was trying to protect Depp’s reputation and career.\u003c/p>\n\u003cp>An email message sent to Depp’s publicist was not immediately returned Tuesday.\u003c/p>\n\u003cp>Heard submitted a photo of her bruised face when she applied for the restraining order. She also wrote that the actor pulled her hair, screamed at her and repeatedly hit her and violently grabbed her face.\u003c/p>\n\u003cp>She appeared at a Los Angeles court on Friday and had a bruise on her right cheek below the eye.\u003c/p>\n\u003cp>Heard filed for divorce on May 23, two days after the alleged abuse, citing irreconcilable differences. Depp’s lawyer has accused Heard of using the abuse allegations to try to gain an advantage on the actor in divorce proceedings. She is seeking spousal support, but Depp is asking a judge to deny that request.\u003c/p>\n\u003cp>“Amber is simply a victim of domestic violence, and none of her actions are motivated by money,” Heard’s lawyers wrote. “Amber is a brave and financially independent woman who is showing the courage of her convictions by doing the right thing against Johnny’s relentless army of lawyers and surrogates.”\u003c/p>\n\u003cp>Heard and Depp met on the set of the 2011 film “The Rum Diary” and were married for 15 months before the divorce petition was filed. Heard wrote that May 21, the day of the alleged assault, was the first time she had seen Depp in a month.\u003c/p>\n\u003cp>Depp is traveling overseas on tour with his band, Hollywood Vampires. His latest film, \u003cem>Alice Through the Looking Glass\u003c/em> bombed at the box office, earning just over $28.1 million in its opening weekend, according to figures released Sunday.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Writer Sandy Cohen contributed to this report. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Giant Sand-Dwelling Skeletons Descend on the Exploratorium",
"headTitle": "Giant Sand-Dwelling Skeletons Descend on the Exploratorium | KQED",
"content": "\u003cp>“The floor is very slippery here,” said Theo Jansen, helpfully positioning his foot against a flailing leg of \u003ci>Animaris Suspendisse\u003c/i> as it uncannily propelled itself across the floor of the Exploratorium.\u003c/p>\n\u003cp>The Netherlands-based Jansen was in town to celebrate the opening of \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">\u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i>\u003c/a>, a traveling exhibition organized by the Peabody Essex Museum of Salem, Mass. that brought the “dream machines” to the Bay Area for the first time. \u003ci>Animaris Suspendisse\u003c/i> is used to moving across the hard-packed sands of Dutch beaches, not a museum’s polished concrete floor.\u003c/p>\n\u003cp>https://youtu.be/yTzz80fLAAQ\u003c/p>\n\u003cp>Resembling a cross between a Leonardo da Vinci flying machine and a plastic Erector Set, \u003ci>Suspendisse\u003c/i> is the latest and largest strandbeest to date, measuring in at 43 feet of PVC tubing, rubber tubes, zip ties, plastic bottles and rip-stop nylon sails.\u003c/p>\n\u003cp>Jansen began building the beests in 1990, prompted by the idea of creating a herd of machines that might be able to autonomously repair the Netherlands’ eroding coastline by moving sand from the surf zone to the dunes farther inland, continuously. In the nearly three decades since, the strandbeests have evolved over distinct periods of time — mapped on an Exploratorium wall — to become animated skeletons propelled by the wind, capable of storing compressed air and able to sense their positions on the beach by testing the hardness of the ground and the depth of the water.\u003c/p>\n\u003cfigure id=\"attachment_11634864\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg\" alt=\"Theo Jansen, Sheveningen beach, The Netherlands, 2011\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Theo Jansen, Sheveningen beach, The Netherlands, 2011. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for their intended purpose? The Exploratorium wall text explains, “The strandbeests did what any creature would do — they ignored human interests and pursued their own: survival and proliferation.” In other words, the beests are less interested in saving the Dutch coastline than they are in taking long walks on the beach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The spirit of \u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i> finds a perfect home at the Exploratorium, a museum that often resembles a really popular playground, each exhibition cleverly concealing its agenda of teaching visitors about science, art and human perception under the guise of hands-on fun. Jansen fits right in; he’s a relentless tinkerer, zip ties always at the ready. Building each new iteration of the beests during the winter, he sets them loose on the beaches of the seaside resort of Scheveningen during the prime summer months.\u003c/p>\n\u003cfigure id=\"attachment_11634872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg\" alt=\"'Animaris Plaudens Vela,' 2013.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Plaudens Vela,’ 2013. \u003ccite>(Photo courtesy of Marco Zwinkels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Exploratorium, whole beests are displayed alongside “fossils,” sun-bleached segments of strandbeest joints, wings and feet. The exhibition might not contain as many touchable elements as visitors to the museum are used to finding, but the beests do wake their creaky joints to participate in daily walking demonstrations, rest assured.\u003c/p>\n\u003cp>Lining the walls are photographer Lena Herzog’s large black-and-white images of Jansen standing on near-empty beaches — just a man alone with his beests, all of which dwarf him. In many of the images he’s clad, impractically, in a suit jacket and button-down shirt, the wind blowing his hair and propelling his automatons along the water’s edge.\u003c/p>\n\u003cfigure id=\"attachment_11634849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg\" alt=\"'Animaris Rhinoceros,' 2004. An evolutionary foray into wood, according to Jansen, the one time he was "unfaithful" to PVC tubing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Rhinoceros,’ 2004. An evolutionary foray into wood, according to Jansen, the one time he was “unfaithful” to PVC tubing. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beests aren’t pure whimsy. Jansen’s design decisions are often fueled by evolutionary science. The creatures’ legs were developed with the help of an iterative computer program to achieve optimal leg segment lengths, giving the beests a stable yet millipede-like gait.\u003c/p>\n\u003cp>The beests even think about self-preservation, to an extent. \u003ci>Animaris Sabulosa\u003c/i> adheres sand to its body as a form of camouflage. \u003ci>Animaris Rectus\u003c/i> hammers a stake into the sand when the wind picks up, to keep itself from blowing away.\u003c/p>\n\u003cfigure id=\"attachment_11634874\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg\" alt=\"Jansen's signature suit jacket during installation at the Exploratorium.\" width=\"1200\" height=\"799\" class=\"size-full wp-image-11634874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jansen’s signature suit jacket during installation at the Exploratorium. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a retrospective show, but Jansen is far from done. His singular focus, his playful capacity to make, by hand, these strange and wonderful creatures and then claim it is they who are forcing themselves into existence, is inspiring, both for the ingenuity of Jansen’s creations and the legacy he wishes to establish. “In the next 20 years I hope to work on their future,” Jansen said. “Mark my words, by the time I leave this planet, I will leave behind a new species.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Strandbeest: The Dream Machines of Theo Jansen \u003c/b>is on view at the Exploratorium in San Francisco through September 5. For tickets and more information on a whole range of \u003ca href=\"http://www.exploratorium.edu/strandbeest/events\" target=\"_blank\" rel=\"noopener\">strandbeest-related events\u003c/a> visit \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">exploratorium.edu\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Theo Jansen's wind-powered \"strandbeests\" journey to San Francisco in a show that's part natural history display, part fine art. ",
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"description": "Theo Jansen's wind-powered "strandbeests" journey to San Francisco in a show that's part natural history display, part fine art. ",
"title": "Giant Sand-Dwelling Skeletons Descend on the Exploratorium | KQED",
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"headline": "Giant Sand-Dwelling Skeletons Descend on the Exploratorium",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The floor is very slippery here,” said Theo Jansen, helpfully positioning his foot against a flailing leg of \u003ci>Animaris Suspendisse\u003c/i> as it uncannily propelled itself across the floor of the Exploratorium.\u003c/p>\n\u003cp>The Netherlands-based Jansen was in town to celebrate the opening of \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">\u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i>\u003c/a>, a traveling exhibition organized by the Peabody Essex Museum of Salem, Mass. that brought the “dream machines” to the Bay Area for the first time. \u003ci>Animaris Suspendisse\u003c/i> is used to moving across the hard-packed sands of Dutch beaches, not a museum’s polished concrete floor.\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/yTzz80fLAAQ'\n title='//www.youtube.com/embed/yTzz80fLAAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Resembling a cross between a Leonardo da Vinci flying machine and a plastic Erector Set, \u003ci>Suspendisse\u003c/i> is the latest and largest strandbeest to date, measuring in at 43 feet of PVC tubing, rubber tubes, zip ties, plastic bottles and rip-stop nylon sails.\u003c/p>\n\u003cp>Jansen began building the beests in 1990, prompted by the idea of creating a herd of machines that might be able to autonomously repair the Netherlands’ eroding coastline by moving sand from the surf zone to the dunes farther inland, continuously. In the nearly three decades since, the strandbeests have evolved over distinct periods of time — mapped on an Exploratorium wall — to become animated skeletons propelled by the wind, capable of storing compressed air and able to sense their positions on the beach by testing the hardness of the ground and the depth of the water.\u003c/p>\n\u003cfigure id=\"attachment_11634864\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg\" alt=\"Theo Jansen, Sheveningen beach, The Netherlands, 2011\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Theo Jansen, Sheveningen beach, The Netherlands, 2011. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for their intended purpose? The Exploratorium wall text explains, “The strandbeests did what any creature would do — they ignored human interests and pursued their own: survival and proliferation.” In other words, the beests are less interested in saving the Dutch coastline than they are in taking long walks on the beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The spirit of \u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i> finds a perfect home at the Exploratorium, a museum that often resembles a really popular playground, each exhibition cleverly concealing its agenda of teaching visitors about science, art and human perception under the guise of hands-on fun. Jansen fits right in; he’s a relentless tinkerer, zip ties always at the ready. Building each new iteration of the beests during the winter, he sets them loose on the beaches of the seaside resort of Scheveningen during the prime summer months.\u003c/p>\n\u003cfigure id=\"attachment_11634872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg\" alt=\"'Animaris Plaudens Vela,' 2013.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Plaudens Vela,’ 2013. \u003ccite>(Photo courtesy of Marco Zwinkels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Exploratorium, whole beests are displayed alongside “fossils,” sun-bleached segments of strandbeest joints, wings and feet. The exhibition might not contain as many touchable elements as visitors to the museum are used to finding, but the beests do wake their creaky joints to participate in daily walking demonstrations, rest assured.\u003c/p>\n\u003cp>Lining the walls are photographer Lena Herzog’s large black-and-white images of Jansen standing on near-empty beaches — just a man alone with his beests, all of which dwarf him. In many of the images he’s clad, impractically, in a suit jacket and button-down shirt, the wind blowing his hair and propelling his automatons along the water’s edge.\u003c/p>\n\u003cfigure id=\"attachment_11634849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg\" alt=\"'Animaris Rhinoceros,' 2004. An evolutionary foray into wood, according to Jansen, the one time he was "unfaithful" to PVC tubing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Rhinoceros,’ 2004. An evolutionary foray into wood, according to Jansen, the one time he was “unfaithful” to PVC tubing. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beests aren’t pure whimsy. Jansen’s design decisions are often fueled by evolutionary science. The creatures’ legs were developed with the help of an iterative computer program to achieve optimal leg segment lengths, giving the beests a stable yet millipede-like gait.\u003c/p>\n\u003cp>The beests even think about self-preservation, to an extent. \u003ci>Animaris Sabulosa\u003c/i> adheres sand to its body as a form of camouflage. \u003ci>Animaris Rectus\u003c/i> hammers a stake into the sand when the wind picks up, to keep itself from blowing away.\u003c/p>\n\u003cfigure id=\"attachment_11634874\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg\" alt=\"Jansen's signature suit jacket during installation at the Exploratorium.\" width=\"1200\" height=\"799\" class=\"size-full wp-image-11634874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jansen’s signature suit jacket during installation at the Exploratorium. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a retrospective show, but Jansen is far from done. His singular focus, his playful capacity to make, by hand, these strange and wonderful creatures and then claim it is they who are forcing themselves into existence, is inspiring, both for the ingenuity of Jansen’s creations and the legacy he wishes to establish. “In the next 20 years I hope to work on their future,” Jansen said. “Mark my words, by the time I leave this planet, I will leave behind a new species.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Strandbeest: The Dream Machines of Theo Jansen \u003c/b>is on view at the Exploratorium in San Francisco through September 5. For tickets and more information on a whole range of \u003ca href=\"http://www.exploratorium.edu/strandbeest/events\" target=\"_blank\" rel=\"noopener\">strandbeest-related events\u003c/a> visit \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">exploratorium.edu\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "californias-hoopa-tribe-fights-sale-of-sacred-deer-at-paris-auction",
"title": "California's Hoopa Tribe Fights Sale of Sacred Deer at Paris Auction",
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"content": "\u003cp>Earlier this week, \u003ca href=\"http://nmai.si.edu/explore/multimedia/webcasts/\" target=\"_blank\" rel=\"noopener\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews led a prayer\u003c/a> at the \u003ca href=\"http://nmai.si.edu/\" target=\"_blank\" rel=\"noopener\">National Museum of the American Indian\u003c/a> in Washington D.C.\u003c/p>\n\u003cp>They joined other Indian leaders to protest the sale of ceremonial objects scheduled for Monday at the auction house \u003ca href=\"http://www.auctioneve.com/index.jsp?setLng=fr\" target=\"_blank\" rel=\"noopener\">EVE (Estimations Vente aux Enchère)\u003c/a> in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11623353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11623353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg\" alt=\"Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday \u003ccite>(Photo: Museum of the American Indian )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction features a \u003ca href=\"http://www.auctioneve.com/html/fiche.jsp?id=6016980&np=1&lng=fr&npp=10000&ordre=&aff=&sold=&r=\" target=\"_blank\" rel=\"noopener\">Hupa sacred deer \u003c/a>(Hupa is the spelling used to describe the sacred items and culture of the Hoopa Tribe), plus a Pueblo war shield, ancient Puebloan bone fragments and Hopi Kachinas.\u003c/p>\n\u003cp>Matthews and other tribal leaders called on the auction house to return the items, which have powerful religious significance.\u003c/p>\n\u003cp>“It’s almost like a search for a lost family member on an international level,” Matthews said in an interview Friday. “And we’re hopeful that somehow we’ll be able to bring it home.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"http://nmai.si.edu/explore/collections/repatriation/\" target=\"_blank\" rel=\"noopener\">Native American Graves Protection and Repatriation Act \u003c/a>requires American institutions receiving federal funds to return “cultural items” to Indian tribes and Native Hawaiian organizations. But the U.S. has no international treaties governing the return of such items.\u003c/p>\n\u003cp>Matthews says there’s no legal way for anyone other than a tribal member to own the deer.\u003c/p>\n\u003cp>“There are stories of regalia and other sacred objects leaving our lands in the late 1800’s by the wagonloads,” Matthews said, “and that was the taking of our culture of our community.”\u003c/p>\n\u003cp>Other tribal members at the Smithsonian made similar arguments. Conroy Chino a traditional leader from the Pueblo of Acoma in New Mexico says a member of his tribe recalls the theft from her grandfather of a 19th century Acoma Pueblo war shield pictured in the EVE auction catalog.\u003c/p>\n\u003cfigure id=\"attachment_11623223\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Deer-500x600.png\" alt=\"Hupa deer slated for sale May 30 in Paris\" width=\"500\" height=\"600\" class=\"size-medium wp-image-11623223\">\u003cfigcaption class=\"wp-caption-text\">Hupa deer slated for sale May 30 in Paris \u003ccite>(Photo: Catalogue of EVE Auction House in Paris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past the Paris auction house has defended the sales, despite unsuccessful challenges in the courts. Before a sale of Navajo masks last year, Auctioneer Alain Leroy told the \u003ca href=\"http://www.usnews.com/news/world/articles/2015/06/10/paris-auction-house-selling-sacred-masks-refuses-to-stop\" target=\"_blank\" rel=\"noopener\">Associated Press\u003c/a>,“It’s legal. It’s business. What’s the problem? The tribes are shocked, yes. But to each his own morality.”\u003c/p>\n\u003cp>And Leroy told the art news site \u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">Hyperallergic\u003c/a> that the tribes can buy the items back if they choose\u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>“That is absolutely deplorable that he would make that comment,” Chino said. “There’s no way these items left the Pueblo legally.”\u003c/p>\n\u003cp>Hoopa Tribal member Matthews wouldn’t say whether the tribe would bid on the Hupa deer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He said he was heartened at the Smithsonian hearing, though, to learn that the U.S. State Department is looking into the possibility of negotiating treaties with other governments for the repatriation of sacred American Indian artifacts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, \u003ca href=\"http://nmai.si.edu/explore/multimedia/webcasts/\" target=\"_blank\" rel=\"noopener\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews led a prayer\u003c/a> at the \u003ca href=\"http://nmai.si.edu/\" target=\"_blank\" rel=\"noopener\">National Museum of the American Indian\u003c/a> in Washington D.C.\u003c/p>\n\u003cp>They joined other Indian leaders to protest the sale of ceremonial objects scheduled for Monday at the auction house \u003ca href=\"http://www.auctioneve.com/index.jsp?setLng=fr\" target=\"_blank\" rel=\"noopener\">EVE (Estimations Vente aux Enchère)\u003c/a> in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11623353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11623353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg\" alt=\"Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday \u003ccite>(Photo: Museum of the American Indian )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction features a \u003ca href=\"http://www.auctioneve.com/html/fiche.jsp?id=6016980&np=1&lng=fr&npp=10000&ordre=&aff=&sold=&r=\" target=\"_blank\" rel=\"noopener\">Hupa sacred deer \u003c/a>(Hupa is the spelling used to describe the sacred items and culture of the Hoopa Tribe), plus a Pueblo war shield, ancient Puebloan bone fragments and Hopi Kachinas.\u003c/p>\n\u003cp>Matthews and other tribal leaders called on the auction house to return the items, which have powerful religious significance.\u003c/p>\n\u003cp>“It’s almost like a search for a lost family member on an international level,” Matthews said in an interview Friday. “And we’re hopeful that somehow we’ll be able to bring it home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://nmai.si.edu/explore/collections/repatriation/\" target=\"_blank\" rel=\"noopener\">Native American Graves Protection and Repatriation Act \u003c/a>requires American institutions receiving federal funds to return “cultural items” to Indian tribes and Native Hawaiian organizations. But the U.S. has no international treaties governing the return of such items.\u003c/p>\n\u003cp>Matthews says there’s no legal way for anyone other than a tribal member to own the deer.\u003c/p>\n\u003cp>“There are stories of regalia and other sacred objects leaving our lands in the late 1800’s by the wagonloads,” Matthews said, “and that was the taking of our culture of our community.”\u003c/p>\n\u003cp>Other tribal members at the Smithsonian made similar arguments. Conroy Chino a traditional leader from the Pueblo of Acoma in New Mexico says a member of his tribe recalls the theft from her grandfather of a 19th century Acoma Pueblo war shield pictured in the EVE auction catalog.\u003c/p>\n\u003cfigure id=\"attachment_11623223\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Deer-500x600.png\" alt=\"Hupa deer slated for sale May 30 in Paris\" width=\"500\" height=\"600\" class=\"size-medium wp-image-11623223\">\u003cfigcaption class=\"wp-caption-text\">Hupa deer slated for sale May 30 in Paris \u003ccite>(Photo: Catalogue of EVE Auction House in Paris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past the Paris auction house has defended the sales, despite unsuccessful challenges in the courts. Before a sale of Navajo masks last year, Auctioneer Alain Leroy told the \u003ca href=\"http://www.usnews.com/news/world/articles/2015/06/10/paris-auction-house-selling-sacred-masks-refuses-to-stop\" target=\"_blank\" rel=\"noopener\">Associated Press\u003c/a>,“It’s legal. It’s business. What’s the problem? The tribes are shocked, yes. But to each his own morality.”\u003c/p>\n\u003cp>And Leroy told the art news site \u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">Hyperallergic\u003c/a> that the tribes can buy the items back if they choose\u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>“That is absolutely deplorable that he would make that comment,” Chino said. “There’s no way these items left the Pueblo legally.”\u003c/p>\n\u003cp>Hoopa Tribal member Matthews wouldn’t say whether the tribe would bid on the Hupa deer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He said he was heartened at the Smithsonian hearing, though, to learn that the U.S. State Department is looking into the possibility of negotiating treaties with other governments for the repatriation of sacred American Indian artifacts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ex-'Glee' Star Mark Salling Indicted on Child-Porn Charges",
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"content": "\u003cp>Mark Salling, who played bad-boy Noah “Puck” Puckerman on the Fox musical dramedy \u003cem>Glee\u003c/em>, was charged Friday with receiving and possessing child pornography.\u003c/p>\n\u003cp>The 33-year-old actor was charged with two counts, according to the U.S. Attorney’s Office.\u003c/p>\n\u003cp>Federal officials said he has agreed to surrender to authorities next Friday, at which time he’s also expected to be arraigned in federal court.\u003c/p>\n\u003cp>His publicist did not immediately respond to phone and email messages.\u003c/p>\n\u003cp>Salling was arrested at his home in Shadow Hills last December after Los Angeles police officers and federal agents seized a laptop, hard drive and flash drive they say contained images and videos depicting child pornography.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was charged with one count of using the Internet to obtain a pornographic still image and video of young girls and a second count of possessing two other child porn videos that also featured young girls.\u003c/p>\n\u003cp>If convicted, he could face as much as 20 years in prison on each of the charges.\u003c/p>\n\u003cp>“Those who download and possess child pornography create a market that causes more children to be harmed,” U.S. Attorney Eileen M. Decker said in a statement announcing the indictments. “Young victims are harmed every time an image is generated, every time it is distributed and every time it is viewed.”\u003c/p>\n\u003cp>Although best known for his long-running role on \u003cem>Glee\u003c/em>, which aired from 2009 to 2015, Salling is also a musician. He released his debut album, \u003cem>Pipe Dreams\u003c/em>, in 2010.\u003c/p>\n\u003cp>He shared a Screen Actors Guild award with the \u003cem>Glee\u003c/em> cast in 2010 when the show was honored for outstanding TV comedy ensemble.\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>Mark Salling, who played bad-boy Noah “Puck” Puckerman on the Fox musical dramedy \u003cem>Glee\u003c/em>, was charged Friday with receiving and possessing child pornography.\u003c/p>\n\u003cp>The 33-year-old actor was charged with two counts, according to the U.S. Attorney’s Office.\u003c/p>\n\u003cp>Federal officials said he has agreed to surrender to authorities next Friday, at which time he’s also expected to be arraigned in federal court.\u003c/p>\n\u003cp>His publicist did not immediately respond to phone and email messages.\u003c/p>\n\u003cp>Salling was arrested at his home in Shadow Hills last December after Los Angeles police officers and federal agents seized a laptop, hard drive and flash drive they say contained images and videos depicting child pornography.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was charged with one count of using the Internet to obtain a pornographic still image and video of young girls and a second count of possessing two other child porn videos that also featured young girls.\u003c/p>\n\u003cp>If convicted, he could face as much as 20 years in prison on each of the charges.\u003c/p>\n\u003cp>“Those who download and possess child pornography create a market that causes more children to be harmed,” U.S. Attorney Eileen M. Decker said in a statement announcing the indictments. “Young victims are harmed every time an image is generated, every time it is distributed and every time it is viewed.”\u003c/p>\n\u003cp>Although best known for his long-running role on \u003cem>Glee\u003c/em>, which aired from 2009 to 2015, Salling is also a musician. He released his debut album, \u003cem>Pipe Dreams\u003c/em>, in 2010.\u003c/p>\n\u003cp>He shared a Screen Actors Guild award with the \u003cem>Glee\u003c/em> cast in 2010 when the show was honored for outstanding TV comedy ensemble.\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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"slug": "sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding",
"title": "SF Arts and Homeless Organizations Join Forces to Secure More City Funding",
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"content": "\u003cp>Dozens of arts and homelessness advocacy organizations in San Francisco are joining forces to file a ballot measure to restore funding from the city’s \u003ca href=\"http://sfcontroller.org/sites/default/files/FileCenter/Documents/242-06_Hotel_Room_Tax_October_2013.pdf\" target=\"_blank\" rel=\"noopener\">Hotel Room Tax\u003c/a> (a tax of 14 percent levied on hotel stays, more simply known as the Hotel Tax.) The “San Francisco Arts and Families Funding Ordinance” aims to benefit both cultural activities and families living on the streets — without raising taxes for voters.\u003c/p>\n\u003cp>Supporters of the measure, which was filed at City Hall on Friday, are calling the move an “unprecedented unified coalition” between the city’s cultural and homeless services communities.\u003c/p>\n\u003cp>More than 30 organizations, large and small, ranging from the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> and the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">Root Division\u003c/a> and the \u003ca href=\"https://hamiltonfamilycenter.org/\" target=\"_blank\" rel=\"noopener\">Hamilton Family Center\u003c/a> have signed on to push the measure through. Although the city’s arts and homeless communities intersect frequently in the present tough economic climate — with increasing numbers of artists and arts organizations being displaced from their homes and workplaces, artists creating art about living on the streets, and homeless services organizations offering arts activities to people in shelters — the collaboration is certainly unusual.\u003c/p>\n\u003cp>“As far as we’re aware, never before has this type of coalition between the arts and homeless communities come together,” says Shwetika Baijal, a strategist with \u003ca href=\"http://www.50p1.com/\" target=\"_blank\" rel=\"noopener\">50+1 Strategies\u003c/a>, a San Francisco-based political consulting firm that’s working with the coalition on building support for the measure. “This pushes us to think of a broader vision for San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>A long legacy\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco’s Hotel Tax was originally created in 1961 to support the city’s arts industries, and the construction and operation of convention facilities. Starting in the 1970s, funds from the Hotel Tax were allocated to fund low-income housing. In early 2000s, the city amended the allocations for the arts as part of the annual budget process, reducing funding gradually, and ultimately repealing specific allocations altogether. Money that went towards low-income housing from the fund was eliminated. (The city offers funding for people in need of food and shelter through other channels, such as the \u003ca href=\"http://www.sfmayor.org/index.aspx?page=1030\" target=\"_blank\" rel=\"noopener\">Mayor’s Fund for the Homeless\u003c/a>.)\u003c/p>\n\u003cp>Meanwhile, San Francisco hotel revenues have increased by 135 percent over the past decade. These days, most of the Hotel Tax money ends up in the city’s General Fund. The fund is sizable and has grown enormously over the past decade: at the end of 2014-2015 fiscal year, the total Hotel Tax revenue was close to $400 million, up from just over $150 million ten years previously.\u003c/p>\n\u003cp>“The Hotel Tax is a massive source of revenue in San Francisco, yet the arts and homeless services in San Francisco have been severely underfunded,” says Nicole Derse, principal at 50+1. “It makes sense that we should direct funding back towards the Hotel Tax’s original intent.”\u003c/p>\n\u003cp>\u003cstrong>How the money will be used\u003c/strong>\u003c/p>\n\u003cp>If the measure passes in November, it will use funds from the Hotel Tax kitty in an effort to end homelessness for families living in San Francisco. A 2015 report by the Coalition on Homelessness estimates that there are nearly 2,000 homeless families in the city, including more than 3,200 minors. Funds will specifically be used for rapid re-housing, prevention and diversion, capital and operating costs for the development, rehabilitation and acquisition of new housing for homeless families, and the administration of these programs.\u003c/p>\n\u003cp>“I couldn’t imagine a San Francisco that doesn’t support its homeless families and its arts and culture,” says Martha Ryan, executive director of the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> (HPP), a local support center for impoverished and homeless families, and a member of the coalition. “Seeing the women who come to the Homeless Prenatal Program for vital services, I think there is nothing more important than making sure family homelessness services are funded. The beautiful arts in our communities and our city’s vibrant cultural institutions makes us who we are, and we have to financially support them to keep San Francisco’s spirit intact.”\u003c/p>\n\u003cp>The measure also calls for a portion of the Hotel Tax fund to be earmarked for the cultural industries, including general operational support for San Francisco arts and cultural organizations, arts service organizations, capital investments and regranting programs, arts tourism initiatives and neighborhood arts collaborative programs with the San Francisco Arts Commission.\u003c/p>\n\u003cp>“The Hotel Tax was originally created to support arts industries, but has been experiencing gradual reductions since the early 2000s,” says Jon Moscone, chief engagement officer at \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA), a visual and performing cultural venue, producer and presenter in downtown San Francisco. YBCA is a member of the coalition. “Speaking as a native San Franciscan and an artist, this measure not only addresses the critical issues facing arts funding, but also steps up and addresses funding needs for family homelessness.”\u003c/p>\n\u003cp>The measure is intended to have a wide-reaching impact on the city’s arts and culture offerings. However, it is not comprehensive in terms of its scope: “Our measure funds primarily the Grants for the Arts (GFTA), Arts Commission, War Memorial, convention facilities, Cultural Equity Endowment Fund and creates a new Neighborhood Arts Fund,” Baijal says.\u003c/p>\n\u003cp>\u003cstrong>Stronger together\u003c/strong>\u003c/p>\n\u003cp>Derse says a number of San Francisco’s arts organizations started working together to strengthen the local cultural ecosystem over a year ago, by advocating for more cultural equity in the last budget cycle. Derse says that homelessness service providers were having similar discussions at that time, specifically around family homelessness. “Both groups were looking to the Hotel Tax,” Derse says. “We realized there was lots of common ground, so in the last three months we’ve been combining efforts.”\u003c/p>\n\u003cp>Instead of filing separate ballot measures — “we thought it would be confusing to voters to see multiple hotel tax measures on the ballot,” Derse says — the two communities decided to move forwards with a single proposal. “We realized we’re stronger together,” Derse says.\u003c/p>\n\u003cp>In order to get the measure on the November ballot, the coalition members have about a month starting in early June to collect 9,485 signatures on their petition, once the Department of Elections issues the coalition with a title and summary. (If the measure were brand new charter amendment rather than an amendment to an existing ordinance, the requirement would be 43,280 signatures.) If the requisite number of signatures is collected and the measure gets through, it will need approval from at least two-thirds of San Francisco’s voters to pass.\u003c/p>\n\u003cp>Derse says the arts and homeless organizations are now working to raise public awareness about the measure in order to get the necessary signatures on the petition, and then inspiring additional arts and homeless advocacy groups and leaders to join the cause. “We are organizing groups and supporters to start collecting petitions,” Baijal says. “It’s a great opportunity for supporters to get involved from the get-go.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A spokesperson from City Hall couldn’t be reached for comment on Friday. We will update this story as it unfolds.\u003c/p>\n\n",
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"excerpt": "More than 20 cultural organizations and around 10 homeless advocacy groups are coming together in a bid to restore the allocation of a portion of the city's Hotel Tax revenues -- without raising taxes on voters.",
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"title": "SF Arts and Homeless Organizations Join Forces to Secure More City Funding | KQED",
"description": "More than 20 cultural organizations and around 10 homeless advocacy groups are coming together in a bid to restore the allocation of a portion of the city's Hotel Tax revenues -- without raising taxes on voters.",
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"headline": "SF Arts and Homeless Organizations Join Forces to Secure More City Funding",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dozens of arts and homelessness advocacy organizations in San Francisco are joining forces to file a ballot measure to restore funding from the city’s \u003ca href=\"http://sfcontroller.org/sites/default/files/FileCenter/Documents/242-06_Hotel_Room_Tax_October_2013.pdf\" target=\"_blank\" rel=\"noopener\">Hotel Room Tax\u003c/a> (a tax of 14 percent levied on hotel stays, more simply known as the Hotel Tax.) The “San Francisco Arts and Families Funding Ordinance” aims to benefit both cultural activities and families living on the streets — without raising taxes for voters.\u003c/p>\n\u003cp>Supporters of the measure, which was filed at City Hall on Friday, are calling the move an “unprecedented unified coalition” between the city’s cultural and homeless services communities.\u003c/p>\n\u003cp>More than 30 organizations, large and small, ranging from the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> and the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">Root Division\u003c/a> and the \u003ca href=\"https://hamiltonfamilycenter.org/\" target=\"_blank\" rel=\"noopener\">Hamilton Family Center\u003c/a> have signed on to push the measure through. Although the city’s arts and homeless communities intersect frequently in the present tough economic climate — with increasing numbers of artists and arts organizations being displaced from their homes and workplaces, artists creating art about living on the streets, and homeless services organizations offering arts activities to people in shelters — the collaboration is certainly unusual.\u003c/p>\n\u003cp>“As far as we’re aware, never before has this type of coalition between the arts and homeless communities come together,” says Shwetika Baijal, a strategist with \u003ca href=\"http://www.50p1.com/\" target=\"_blank\" rel=\"noopener\">50+1 Strategies\u003c/a>, a San Francisco-based political consulting firm that’s working with the coalition on building support for the measure. “This pushes us to think of a broader vision for San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>A long legacy\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s Hotel Tax was originally created in 1961 to support the city’s arts industries, and the construction and operation of convention facilities. Starting in the 1970s, funds from the Hotel Tax were allocated to fund low-income housing. In early 2000s, the city amended the allocations for the arts as part of the annual budget process, reducing funding gradually, and ultimately repealing specific allocations altogether. Money that went towards low-income housing from the fund was eliminated. (The city offers funding for people in need of food and shelter through other channels, such as the \u003ca href=\"http://www.sfmayor.org/index.aspx?page=1030\" target=\"_blank\" rel=\"noopener\">Mayor’s Fund for the Homeless\u003c/a>.)\u003c/p>\n\u003cp>Meanwhile, San Francisco hotel revenues have increased by 135 percent over the past decade. These days, most of the Hotel Tax money ends up in the city’s General Fund. The fund is sizable and has grown enormously over the past decade: at the end of 2014-2015 fiscal year, the total Hotel Tax revenue was close to $400 million, up from just over $150 million ten years previously.\u003c/p>\n\u003cp>“The Hotel Tax is a massive source of revenue in San Francisco, yet the arts and homeless services in San Francisco have been severely underfunded,” says Nicole Derse, principal at 50+1. “It makes sense that we should direct funding back towards the Hotel Tax’s original intent.”\u003c/p>\n\u003cp>\u003cstrong>How the money will be used\u003c/strong>\u003c/p>\n\u003cp>If the measure passes in November, it will use funds from the Hotel Tax kitty in an effort to end homelessness for families living in San Francisco. A 2015 report by the Coalition on Homelessness estimates that there are nearly 2,000 homeless families in the city, including more than 3,200 minors. Funds will specifically be used for rapid re-housing, prevention and diversion, capital and operating costs for the development, rehabilitation and acquisition of new housing for homeless families, and the administration of these programs.\u003c/p>\n\u003cp>“I couldn’t imagine a San Francisco that doesn’t support its homeless families and its arts and culture,” says Martha Ryan, executive director of the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> (HPP), a local support center for impoverished and homeless families, and a member of the coalition. “Seeing the women who come to the Homeless Prenatal Program for vital services, I think there is nothing more important than making sure family homelessness services are funded. The beautiful arts in our communities and our city’s vibrant cultural institutions makes us who we are, and we have to financially support them to keep San Francisco’s spirit intact.”\u003c/p>\n\u003cp>The measure also calls for a portion of the Hotel Tax fund to be earmarked for the cultural industries, including general operational support for San Francisco arts and cultural organizations, arts service organizations, capital investments and regranting programs, arts tourism initiatives and neighborhood arts collaborative programs with the San Francisco Arts Commission.\u003c/p>\n\u003cp>“The Hotel Tax was originally created to support arts industries, but has been experiencing gradual reductions since the early 2000s,” says Jon Moscone, chief engagement officer at \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA), a visual and performing cultural venue, producer and presenter in downtown San Francisco. YBCA is a member of the coalition. “Speaking as a native San Franciscan and an artist, this measure not only addresses the critical issues facing arts funding, but also steps up and addresses funding needs for family homelessness.”\u003c/p>\n\u003cp>The measure is intended to have a wide-reaching impact on the city’s arts and culture offerings. However, it is not comprehensive in terms of its scope: “Our measure funds primarily the Grants for the Arts (GFTA), Arts Commission, War Memorial, convention facilities, Cultural Equity Endowment Fund and creates a new Neighborhood Arts Fund,” Baijal says.\u003c/p>\n\u003cp>\u003cstrong>Stronger together\u003c/strong>\u003c/p>\n\u003cp>Derse says a number of San Francisco’s arts organizations started working together to strengthen the local cultural ecosystem over a year ago, by advocating for more cultural equity in the last budget cycle. Derse says that homelessness service providers were having similar discussions at that time, specifically around family homelessness. “Both groups were looking to the Hotel Tax,” Derse says. “We realized there was lots of common ground, so in the last three months we’ve been combining efforts.”\u003c/p>\n\u003cp>Instead of filing separate ballot measures — “we thought it would be confusing to voters to see multiple hotel tax measures on the ballot,” Derse says — the two communities decided to move forwards with a single proposal. “We realized we’re stronger together,” Derse says.\u003c/p>\n\u003cp>In order to get the measure on the November ballot, the coalition members have about a month starting in early June to collect 9,485 signatures on their petition, once the Department of Elections issues the coalition with a title and summary. (If the measure were brand new charter amendment rather than an amendment to an existing ordinance, the requirement would be 43,280 signatures.) If the requisite number of signatures is collected and the measure gets through, it will need approval from at least two-thirds of San Francisco’s voters to pass.\u003c/p>\n\u003cp>Derse says the arts and homeless organizations are now working to raise public awareness about the measure in order to get the necessary signatures on the petition, and then inspiring additional arts and homeless advocacy groups and leaders to join the cause. “We are organizing groups and supporters to start collecting petitions,” Baijal says. “It’s a great opportunity for supporters to get involved from the get-go.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A spokesperson from City Hall couldn’t be reached for comment on Friday. We will update this story as it unfolds.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"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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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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